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THREE:The roll of the drums and the whistle of the fifes died away in the distance. There was a long silence, followed by three volleys of musketry, the salute over the open grave. And then taps was pealed in notes of brass up to the blue sky, a long farewell, a challenge aforetime to the trumpet of the Last Day. They turned and came marching back. The drums and fifes played "Yankee Doodle" in sarcastic relief. The men walked briskly with their guns at carry arms, the black-draped horse curved its neck and pranced until the empty stirrups danced. The incident was over—closed. The post picked up its life and went on. Two afternoons later the ambulance which had been sent for Felipa came into the post. She stepped out from it in front of the Elltons' quarters so majestic and awe-inspiring in her black garments that Mrs. Ellton was fairly subdued. She felt real grief. It showed in her white face and the nervous quiver of her lips. "I am going out to the graveyard," she told Mrs. Ellton almost at once. Mrs. Ellton prepared to accompany her, but she insisted that she was going alone, and did so, to the universal consternation.Somewhere in that same poem, he remembered, there had been advice relative to a man's contending to the uttermost for his life's set prize, though the end in sight were a vice. He shrugged his shoulders. It might be well enough to hold to that in Florence and the Middle Ages. It was highly impracticable for New Mexico and the nineteenth century. So many things left undone can be conveniently laid to the prosaic and materialistic tendencies of the age. Things were bad enough now—for Landor, for himself, and most especially for Felipa. But if one were to be guided by the romantic poets, they could conceivably be much worse.

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