Thames," she urged, "the errand, on which you're going, can't be for any good, or you wouldn't be afraid of mentioning it to my father. While the cloth was laid, the host and Thames descended to the cellar, whence they returned, laden with a number of flasks of the same form, and apparently destined to the same use as those depicted in Hogarth's delectable print—the Modern Midnight Conversation. She was never able to trace the changes her attitude had undergone, from the time when she believed herself to be the pampered Queen of Fortune, the crown of a good man’s love (and secretly, but nobly, worshipping some one else), to the time when she realized she was in fact just a mannequin for her lover’s imagination, and that he cared no more for the realities of her being, for the things she felt and desired, for the passions and dreams that might move her, than a child cares for the sawdust in its doll.
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