But the obsession persisted. In his miserable attic off Hester Street—that recalled the attic he had found her in, though it was many stories nearer the sky—he warmed himself with Gittel's image, smiling, light-darting, voluptuous. Night and sleep surrendered [298]him to grotesque combinations—Gittel Goldstein smoking cigarettes in a bath-room, Yvonne Rupert playing Yiddish heroines in a little chapel.

In the clear morning these absurdities were forgotten in the realized absurdity of the initial identification. But a forenoon at the pasting-desk brought back the haunting thought. At noon he morbidly expended his lunch-dime on an 'Yvonne Rupert' cigar, and smoked it with a semi-insane feeling that he was repossessing his Gittel. Certainly it was delicious.

He wandered into the box-making room, where the man who tended the witty nail-driving machine was seated on a stack of Mexican cedar-wood, eating from a package of sausage and scrapple that sent sobering whiffs to the reckless smoker.

'You ever seen this Yvonne Rupert?' he asked wistfully.

'Might as well ask if I'd smoked her cigar!' grumbled the nailer through his mouthfuls.

'But there's a gallery at Webster and Dixie's.'

'Su-er!'

'I guess I'll go some day, just for curiosity.'

But the great Yvonne, he found, was flaming in her provincial orbit. So he must needs wait.

Meantime, on a Saturday night, with a dirty two-dollar bill in his pocket, and jingling some odd cents, he lounged into the restaurant where the young Russian bloods assembled who wrote for the Yiddish Labour papers, and 'knew it all.' He would draw them out about Yvonne Rupert. He established himself near a table at which long-haired, long-fingered Freethink............