a little at loose ends when she met Oscar Bailey, so to speak, in the CONTEMPORARY REVIEW. The lurking woman in her nature was fascinated by the ease and precision with which the little man rolled over all sorts of important and authoritative people, she was the first to discover a sort of imaginative bigness in his still growing mind, the forehead perhaps carried him off physically, and she took occasion to meet and subjugate him, and, so soon as he had sufficiently recovered from his abject humility and a certain panic at her attentions, marry him.
This had opened a new phase in the lives of Bailey and herself. The two supplemented each other to an extraordinary extent. Their subsequent career was, I think, almost entirely her invention. She was aggressive, imaginative, and had a great capacity for ideas, while he was almost destitute of initiative, and could do nothing with ideas except remember and discuss them. She was, if not exact, at least indolent, with a strong disposition to save energy by sketching—even her handwriting showed that—while he was inexhaustibly industrious with a relentless invariable calligraphy that grew larger and clearer as the years passed by. She had a considerable power of charming; she could be just as nice to people—and incidentally just as nasty—as she wanted to be. He was always just the same, a little confidential and SOTTO VOCE, artlessly rude and egoistic in an undignified way. She had considerable social experience, good social connections, and considerable social ambition, while he had none of these things. She saw in a flash her opportunity to redeem his defects, use his powers, and do large, novel, rather startling things. She ran him. Her marriage, which shocked her friends and relations beyond measure—for a time they would only speak of Bailey as “that gnome”—was a stroke of