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Lure of the Mask begins: Out of the unromantic night, out of the somber blurring January fog, came a voice lifted in song, a soprano, rich, full and round, young yet matured, sweet and mysterious as a night-bird's, haunting and elusive as the murmur of the sea in a shell: a lilt from La Fille de Madame Ango, a light opera long since forgotten in New York. Hillard, genuinely astonished, lowered his pipe and listened. To sit dreaming by an open window, even in this unlovely first month of the year, in that grim unhandsome city which boasts of its riches and still accepts with smug content its rows upon rows of ugly architecture, to sit dreaming, then, of red-tiled roofs, of cloud-caressed hills, of terraced vineyards, of cypresses in their dark aloofness, is not out of the natural order of things; but that into this idle and pleasant dream there should enter so divine a voice, living, feeling, pulsing, this was not ordinary at all.

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Lure of the Mask begins: Out of the unromantic night, out of the somber blurring January fog, came a voice lifted in song, a soprano, rich, full and round, young yet matured, sweet and mysterious as a night-bird's, haunting and elusive as the murmur of the sea in a shell: a lilt from La Fille de Madame Ango, a light opera long since forgotten in New York. Hillard, genuinely astonished, lowered his pipe and listened. To sit dreaming by an open window, even in this unlovely first month of the year, in that grim unhandsome city which boasts of its riches and still accepts with smug content its rows upon rows of ugly architecture, to sit dreaming, then, of red-tiled roofs, of cloud-caressed hills, of terraced vineyards, of cypresses in their dark aloofness, is not out of the natural order of things; but that into this idle and pleasant dream there should enter so divine a voice, living, feeling, pulsing, this was not ordinary at all.

1908. With illustrations by Harrison Fisher and Carl Anderson. MacGrath, a prolific writer, wrote for newspapers until 1890 when he published his first novel Arms and the Woman. The Lure of the Mask begins: Out of the unromantic night, out of the somber blurring January fog, came a voice lifted in song, a soprano, rich, full and round, young yet matured, sweet and mysterious as a night-bird's, haunting and elusive as the murmur of the sea in a shell: a lilt from La Fille de Madame Ango, a light opera long since forgotten in New York. Hillard, genuinely astonished, lowered his pipe and listened. To sit dreaming by an open window, even in this unlovely first month of the year, in that grim unhandsome city which boasts of its riches and still accepts with smug content its rows upon rows of ugly architecture, to sit dreaming, then, of red-tiled roofs, of cloud-caressed hills, of terraced vineyards, of cypresses in their dark aloofness, is not out of the natural order of things; but that into this idle and pleasant dream there should enter so divine a voice, living, feeling, pulsing, this was not ordinary at all. See other titles by this author available from Kessinger Publishing.

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