One day Muriel's automobile breaks down
near Margaret's cottage, and, while the tyre is being repaired, Margaret
gives her visitor tea, neither of them knowing the other. Throughout the
scene we are naturally wondering whether a revelation is to occur; and
when, towards the close, Muriel goes to Margaret's room, "to put her hat
straight," we have no longer any doubt on the subject. It is practically
inevitable that she should find in the room her husband's photograph, or
some object which she should instantly recognize as his, and should
return to the stage in full possession of the secret. This is so
probable that nothing but a miracle can prevent it: we mentally give the
author credit for bringing about his revelation in a very simple and
natural way; and we are proportionately disappointed when we find that
the miracle has occurred, and that Muriel returns to the sitting-room no
wiser than she left it. Very possibly the general economy of the play
demanded that the revelation should not take place at this juncture.
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