The charcoal drawing of him--done last year by that fine artist, James Colthurst, as a study for the portrait he was to paint--hanging between the two western windows, at right angles to her bed where she could always see it, proved the worst offender.

It did not take the floor, it is true, but remained in its frame upon the wall.

Yet it too came alive, and looked full at her, compelling her attention, dominating, commanding her; while, slowly, deliberately it changed, the features slightly losing their accentuation, growing youthful, softer in outline, the long drooping moustache giving place to a close-cut beard.
The eyes alone stayed the same, steady, luminous, a living silence in them at once formidable and strangely sad.

Finally--and this the poor child found indescribably agitating and even horrible--their silence was broken by a question.

For they asked what she, Damaris, meant to say, meant to do, when he--her father, the all-powerful Commissioner Sahib of her babyhood's faith and devotion--came home here, came back?
Yet whose eyes, after all, were they which thus asked?
Was it not, rather the younger man, the bearded one, who claimed, and of right, an answer to that question?
And upon Damaris it now dawned that these two, distinct yet interchangeable personalities--imprisoned, as by some evil magic in one picture--were in opposition, in violent and impious conflict, which conflict she was called upon, yet was powerless, to avert or to assuage.
Not once but many times--since the transformation was persistently recurrent--the girl turned her face to the wall to gain relief from the sight of it and the demand it so fearfully embodied, pressing her dry lips together lest any word should escape them.