She slept unevenly at night, was drowsy by day, unless the open air was about her, or animating friends.

Redworth's urgency to get her to publish was particularly annoying when she felt how greatly THE YOUNG MINISTER OF STATE would have been improved had she retained the work to brood over it, polish, re-write passages, perfect it.

Her musings embraced long dialogues of that work, never printed; they sprang up, they passed from memory; leaving a distaste for her present work: THE CANTATRICE: far more poetical than the preceding, in the opinion of Arthur Rhodes; and the story was more romantic; modelled on a Prima Donna she had met at the musical parties of Henry Wilmers, after hearing Redworth tell of Charles Rainer's quaint passion for the woman, or the idea of the woman.

Diana had courted her, studied and liked her.

The picture she was drawing of the amiable and gifted Italian, of her villain Roumanian husband, and of the eccentric, high-minded, devoted Englishman, was good in a fashion; but considering the theme, she had reasonable apprehension that her CANTATRICE would not repay her for the time and labour bestowed on it.