My astronomical figure for the expression of Rose's rise in her profession is, in one important particular, misleading. There was nothing precalculable about it, as there is about the solemn swing of the stars. The impetus and direction of Rose's career derived from two incidents that might just as well not have happened--two of the flukiest of small chances. The first of these chances concerned itself with Olga Larson and her bad voice. Olga, as I think I have told you, was one of the sextette. And, oddly enough, she owed her membership in this little group of quasi principals, to her voice and nothing else. Because it was a bad voice only when she talked. When she sang, it had a gorgeous thrilling ring to it that made Patricia Devereux, when she heard it, clench her hands and narrow her eyes. She'd never been taught what to do with it, but then, for what Galbraith wanted of her she needed no teaching. Her ear was infallible; let her hear a tune once and she could reproduce it accurately, squarely up to time, squarely, always, in the middle of the pitch. When she opened her rather dainty-looking mouth and sang, she could give you across the footlights the impression that at least four first-class sopranos were going uncommon strong. She hadn't a salient or commonplace enough sort of beauty to have singled her out from the chorus and she was no better a dancer than passable. But none of the girls who would be picked out by a committee of automobile salesmen as the prettiest and the best dancers in the chorus could sing a note, and the sextette would have been dumb without her voice. It was natural enough that Patricia didn't like it. She owed her own position as a leading light-opera soprano to the cultivation to its highest possible perfection of a distinctly second-rate voice, to a precise knowledge of its limitations and to a most scrupulous economy in its effects. Inevitably, then, the raw splendors that Olga Larson dispensed so prodigally gave Patricia the creeps. Inevitably, too, without any conscious malice about it, she made up her clear, hard little mind the moment she heard Olga talk, that she was utterly impossible for the sextette. "Really, my dear man," she told Galbraith after the first rehearsal, "you'll have to find some one else. American audiences will stand a good deal, I know, in the way of atrocious speech, but positively she'll be hooted. They'll all sound frightful enough, especially because that Dane girl, if that's her name, talks like a lady, but this one ...!" She gave a cruelly adequate little imitation of Olga's delivery of one of her lines. "Like some one who doesn't know how, trying to play the slide trombone," she commented. Galbraith couldn't pretend that she exaggerated the horrors of it, but explained why the girl was indispensable. The explanation didn't please Patricia any too well, either. "Sing!" she cried hotly. "But she sings detestably!"