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TONO-BUNGAY

creatures of deep interest and desire. I had a stronger and stronger sense that among these glancing, passing multitudes there was somewhere one who was for me. And in spite of every antagonistic force in the world, there was something in my very marrow that insisted: "Stop! Look at this one! Think of her! Won't she do? This signifies—this before all things signifies! Stop! Why are you hurrying by? This may be the predestined person—before all others."

It is odd that I can't remember when first I saw Marion, who became my wife—whom I was to make wretched, who was to make me wretched, who was to pluck that fine generalized possibility of love out of my early manhood and make it a personal conflict. I became aware of her as one of a number of interesting attractive figures that moved about in my world, that glanced back at my eyes, that flitted by with a kind of averted watchfulness. I would meet her coming through the Art Museum, which was my short cut to the Brompton Road, or see her sitting, reading as I thought, in one of the bays of the Education Library. But really, as I found out afterwards, she never read. She used to come there to eat a bun in quiet. She was a very gracefully-moving figure of a girl then, very plainly dressed, with dark brown hair I remember, in a knot low on her neck behind that confessed the pretty roundness of her head and harmonized with the admirable lines of ears and cheek, the grave serenity of mouth and brow.

She stood out among the other girls very distinctly because they dressed more than she did, struck emphatic notes of colour, startled one by novelties in hats and bows and things. I've always hated the rustle, the disconcerting colour boundaries, the smart unnatural