what he was thinking about. The steady lights marked the rooms where Terence sat with people moving round him. Every one who stayed in the hotel had a peculiar romance and interest about them. They were not ordinary people. She would attribute wisdom to Mrs. Elliot, beauty to Susan Warrington, a splendid vitality to Evelyn M., because Terence spoke to them. As unreflecting and pervasive were the moods of depression. Her mind was as the landscape outside when dark beneath clouds and straitly lashed by wind and hail. Again she would sit passive in her chair exposed to pain, and Helen's fantastical or gloomy words were like so many darts goading her to cry out against the hardness of life. Best of all were the moods when for no reason again this stress of feeling slackened, and life went on as usual, only with a joy and colour in its events that was unknown before; they had a significance like that which she had seen in the tree: the nights were black bars separating her from the days; she would have liked to run both nights and days into one long continuity of sensation. Although these moods were directly or indirectly caused by the presence of Terence or the thought of him, she never said to herself that she was in love with him, or considered what was to happen if she continued to feel such things, so that Helen's image of the river sliding on to the waterfall had a great likeness to the facts, and the alarm which Helen sometimes felt was justified.
In her curious condition of unanalysed sensations she was incapable of making a plan which should have any effect upon her state of mind. She abandoned herself to the mercy of accidents, missing Terence one day, meeting him the next, receiving his letters always with a start of surprise. Any woman experienced in the progress of courtship would have come by certain opinions from all this which would have given her at least a theory to go upon; but no one had ever been in love with Rachel, and she had never been in love with anyone. Moreover, none of the books she read, from Wuthering Heights to Man and Superman, and the plays of Ibsen, suggested from their analysis of love that what their heroines felt was what she was feeling now. It seemed to her that her sensations had no name.
