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TONO-BUNGAY

discouragement of Cothope, into a keen amateur of aeronautics. She would come sometimes in the morning, sometimes in the afternoon, sometimes afoot with an Irish terrier, sometimes riding. She would come for three or four days every day, vanish for a fortnight or three weeks, return.

It was not long before I came to look for her. From the first I found her immensely interesting. To me she was a new feminine type altogether,—I have made it plain I think how limited was my knowledge of women. But she made me not simply interested in her, but in myself. She became for me something that greatly changes a man's world. How shall I put it? She became an audience. Since I've emerged from the emotional developments of the affair I have thought it out in a hundred aspects, and it does seem to me that this way in which men and women make audiences for one another is a curiously influential force in their lives. For some it seems an audience is a vital necessity, they seek audiences as creatures seek food; others again, my uncle among them, can play to an imaginary audience. I, I think, have lived and can live, without one. In my adolescence I was my own audience and my own court of honour. And to have an audience in one's mind is to play a part, to become self-conscious and dramatic. For many years I had been self-forgetful and scientific. I had lived for work and impersonal interests until I found scrutiny, applause and expectation in Beatrice's eyes. Then I began to live for the effect I imagined I made upon her, to make that very soon the principal value in my life. I played to her. I did things for the look of them. I began to dream more and more of beautiful situations and fine poses and groupings with her and for her.