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TONO-BUNGAY

"Or duets only? . . ."

"How to manage it? Some rule of etiquette, perhaps." . . . He became portentously grave.

Then his long hand went out in weird gestures.

"I seem to see—I seem to see—a sort of City of Women, Ponderevo. Yes. . . . A walled enclosure—good stone-mason's work—a city wall, high as the walls of Rome, going about a garden. Dozens of square miles of garden—trees—fountains—arbours—lakes. Lawns on which the women play, avenues in which they gossip, boats. . . . Women like that sort of thing. Any woman who's been to a good eventful girls' school lives on the memory of it for the rest of her life. It's one of the pathetic things about women,—the superiority of school and college to anything they get afterwards. And this city-garden of women will have beautiful places for music, places for beautiful dresses, places for beautiful work. Everything a woman can want. Nurseries. Kindergartens. Schools. And no man—except to do rough work, perhaps—ever comes in. The men live in a world where they can hunt and engineer, invent and mine and manufacture, sail ships, drink deep and practise the arts, and fight——"

"Yes," I said; "but——"

He stilled me with a gesture.

"I'm coming to that. The homes of the women, Ponderevo, will be set in the wall of their city; each woman will have her own particular house and home, furnished after her own heart in her own manner—with a little balcony on the outside wall. Built into the wall—and a little balcony. And there she will go and look out, when the mood takes her, and all round the city there will be a broad road and seats and great