There was a sound of quick light feet in the hall, the bright voice of one of Gerrit's nieces. Edward Dunsack fell into a profound abstraction: he turned and walked away from her, standing with his back to the room at a window that opened upon the broad green park. He was so weak that he was forced to support himself with a hand on the wall. Taou Yuen was motionless for a perceptible space, and then moved toward the door in a dignified composure. All this had come from the utter impropriety of the life in America. Dunsack glanced at her as she withdrew, and for a moment she saw his fine profile sharp and dark against the light-flooded window. His lips stirred but she heard no sound. Then she was on the stair mounting to her room. There mechanically she filled her pipe; but doing this she noticed that her hands were trembling. How lamentably she had failed in the preservation, the assertion, of her superiority, not as a Manchu, but in the deeper, the only true sense of the word--in submission. "Requite hatred with virtue." She spoke Lao-tze's admonition aloud and, in the customary devious channel of her mental processes, her thoughts returned to her early life, her girlhood, so marred by sickness that the Emperor had surrendered his customary proprietary right in the daughters of Manchu nobles. Surrounding the fact of her early suffering, which had kept her out of the active gayety of brothers and sisters, she remembered in the clearest detail her father's house in the north; the later residences in Canton and Shanghai, even the delightful river gardens of the summer place at Soochow, were less vivid. Inside the massive tiled stone wall the rooms--there were a hundred at least--faced in squares on the inner courtyard, and were connected by glass enclosed verandas. The reception houses of the front court, the deeply carved wooden platform with its scarlet covering, were of the greatest elegance; they were always astir with the numerous secretaries, the Chinese writers and messengers, the _mafoos_ and chair coolies, the servants and blind musicians with the old songs, _The Millet's in Flower_ and _Kuan Kuan Go to the Ospreys_. The side door to the women's apartments, however, opened into a retreat, where her father's concubine, he had but one, trailed like a bird of paradise, and there was the constant musical drip of a fountain in an old granite basin. There, during the years when she was lame, Taou Yuen mostly stayed.