"Why, dear?" The teacher took the palpitating little figure in her arms and kissed the wet face. She had learned something of this sweet wood-thrush girl, and had seen both sides of life's coin enough to be able to close her eyes and ears, and visualize the woman that this might be. "'Cause I kain't!" was the obstinate reply. Being wise, Miss Grover desisted from urging, and went with Sally to the desolated cabin, which she straightway began to overhaul and put to rights. The widow had been dying for a week. It was when she lifted Samson's gun with the purpose of sweeping the corner that the girl swooped down on her, and rescued the weapon from her grasp. "Nobody but me mustn't tech thet rifle-gun," she exclaimed, and then, little by little, it came out that the reason Sally could not leave this cabin, was because some time there might be a whippoorwill call out by the stile, and, when it came, she must be there to answer. And, when at the next vacation Miss Grover rode over, and announced that she meant to visit Sally for a month or two, and when under her deft hands the cabin began to transform itself, and the girl to transform herself, she discovered that Sally found in the graveyard another magnet. There, she seemed to share something with Samson where their dead lay buried. While the "fotched-on" lady taught the girl, the girl taught the "fotched-on" lady, for the birds were her brothers, and the flowers her cousins, and in the poetry that existed before forms of meter came into being she was deeply versed. Toward the end of that year, Samson undertook his portrait of Adrienne Lescott. The work was nearing completion, but it had been agreed that the girl herself was not to have a peep at the canvas until the painter was ready to unveil it in a finished condition. Often as she posed, Wilfred Horton idled in the studio with them, and often George Lescott came to criticize, and left without criticizing. The girl was impatient for the day when she, too, was to see the picture, concerning which the three men maintained so profound a secrecy. She knew that Samson was a painter who analyzed with his brush, and that his picture would show her not only features and expression, but the man's estimate of herself. "Do you know," he said one day, coming out from behind his easel and studying her, through half-closed eyes, "I never really began to know you until now? Analyzing you--studying you in this fashion, not by your words, but by your expression, your pose, the very unconscious essence of your personality--these things are illuminating." "Can I smile," she queried obediently, "or do I have to keep my face straight?" "You may smile for two minutes," he generously conceded, "and I'm going to come over and sit on the floor at your feet, and watch you do it." "And under the X-ray scrutiny of this profound analysis," she laughed, "do you like me?" "Wait and see," was his non-committal rejoinder.