man in the chair is of all things in the world the most real, the most solid, the best known to us—why indeed? For the moment after we know nothing about him.
Such is the manner of our seeing. Such the conditions of our love.
("I'm twenty-two. It's nearly the end of October. Life is thoroughly pleasant, although unfortunately there are a great number of fools about. One must apply oneself to something or other—God knows what. Everything is really very jolly—except getting up in the morning and wearing a tail coat.")
"I say, Bonamy, what about Beethoven?"
("Bonamy is an amazing fellow. He knows practically everything—not more about English literature than I do—but then he's read all those Frenchmen.")
"I rather suspect you're talking rot, Bonamy. In spite of what you say, poor old Tennyson. . . ."
("The truth is one ought to have been taught French. Now, I suppose, old Barfoot is talking to my mother. That's an odd affair to be sure. But I can't see Bonamy down there. Damn London!") for the market carts were lumbering down the street.
"What about a walk on Saturday?"
("What's happening on Saturday?")
Then, taking out his pocket-book, he assured himself that the night of the Durrants' party came next week.
But though all this may very well be true—so Jacob thought and spoke—so he crossed his legs—filled his pipe—sipped his whisky, and once looked at his pocket-book, rumpling his hair as he did so, there remains over something which can never be conveyed to a second person save by Jacob himself. Moreover, part of this is not Jacob but Richard Bonamy—the room; the market carts; the hour; the very moment of history. Then consider the effect of sex—how between man and woman it hangs wavy, tremulous,
