Denver Russell _was_ young, in more ways than one, but that did not prove he was wrong. Perhaps he was presumptuous in trying to tell an artist how to gain a foothold on the stage, but he was still convinced that, in grand opera as in mining, there was no big demand for a quitter. As for that swift, back stab, that veiled intimation that he might live to be a quitter himself, Denver resolved then and there not to quit working his mine until his last dollar was gone. And, while he was doing that, he wondered if Drusilla could boast as much of her music. Would she weaken again, as she had twice already, and declare that she was a miserable failure; or would she toil on, as he did, day by day, refusing to acknowledge she was whipped? Denver returned to his cave in a defiant mood and put on a record by Schumann-Heink. There was one woman that he knew had fought her way through everything until she had obtained a great success. He had read in a magazine how she had been turned away by a director who had told her her voice was hopeless; and how later, after years of privation and suffering, she had come back to that same director and he had been forced to acknowledge her genius. And it was all there, in her voice, the sure strength that comes from striving, the sweetness that comes from suffering; and as Denver listened to her "Cradle Song" he remembered what he had read about her children. Every night, in those dark times when, deserted and alone, she sang in the chorus for her bread, she had been compelled for lack of a nursemaid to lock her children in her room; and evening after evening her mother's heart was tormented by fears for their safety. What if the house should burn down and destroy them all? All the fear and love, all the anguished tenderness which had torn her heart through those years was written on the stippled disc, so deeply had it touched her life. Denver put them all on, the best records he had by singers of world renown, and then at the end he put on the "Barcarolle," the duet from the "Love Tales of Hoffmann." For him, that was Drusilla's song, the expression of her gayest, happiest self. Its lilt and flow recalled her to his thoughts like the embroidered motifs that Wagner used to anticipate the coming of his characters. It was a light song, in a way, not the greatest of music; but while she was singing it he had seen her for the first time and it had become the motif of her coming. When he heard it he saw a vision of a beautiful young girl, singing and swaying like a slender flower; and all about her was a golden radiance like the halo of St. Cecelia. And to him it was a prophecy of her ultimate success, for when she sung it she had won his heart. So he played it over and over, but when he had finished there was silence from the old town below. Yet if Drusilla was silent it was not from despair for in the morning as Denver was mucking out his tunnel he heard her clear voice mount up like the light of some bird.