Miss Thriplow was writing in her secret note-book. 'There are people,' she wrote, 'who seem to have no capacity for feeling deeply or passionately about anything. It is a kind of emotional impotence for which one can only pity them profoundly. Perhaps there are more of these people nowadays than there were. But that's only an impression; one has no facts to go on, no justifying documents. But if it's the case, it's due, I suppose, to our intellectualizing education. One has to have a strong emotional constitution to be able to stand it. And then one lives so artificially that many of the profounder instincts rarely get an opportunity for displaying themselves. Fear, for example, and all the desperate passions evoked by the instinct of self-preservation in face of danger or hunger. Thousands of civilized people pass through life condemned to an almost complete ignorance of these emotions.'

Miss Thriplow drew a line under this paragraph and began again a little further down the page.

'To love primitively, with fury. To be no more civilized, but savage. No more critical, but whole-heartedly passionate. No more a troubled and dubious mind, but a young, healthy body certain and unwavering in its desires. The beast knows everything, says Uncle Yerochka in Tolstoy. Not everything; no. But he knows, at any rate, all the things the mind does not know. The strong complete spirit must know what the beast knows as well as what the mind knows.'

She drew another line.

'His hands are so strong and firm, and yet touch so softly. His lips are soft. Where his neck joins his body, in front, between the two strong tendons, where they converge towards the collar bone, is a boldly marked depression in the flesh that looks as though it had been made by the thumb of an artist god, so beautiful it is. So beautiful...'

It occurred to Miss Thriplow that there would be an excellent article to be written round the theme of masculine beauty. In the Song of Solomon it is described as lyrically as feminine beauty. It is rare to find modern poetesses expressing so frank an admiration. In the Paris Salons it is the female nude which prevails; the male is exceptional and, when complete, seems a little shocking. How different from the state of things in Pompeii! Miss Thriplow bit the end of her pen. Yes, decidedly, it would make a capital article.

'His skin is white and smooth,' she went on writing. 'How strong he is! His eyes are sleepy; but sometimes they seem to wake up and he looks at me so piercingly and commandingly that I am frightened. But I like being frightened--by him.'

Another line. Miss Thriplow would have written more on this subject; but she was always apprehensive that somebody might find her note-book and read it. She did not want that to happen till she was dead. Miss Thriplow made an asterisk by the side of the first of the evening's notes. In the margin of the blank page opposite she scratched a similar sign, to indicate that what she was going to write now was in the nature of an appendix or corollary to what she had written in the first note.

'Certain people,' she wrote, 'who have no natural capacity for profound feeling are yet convinced, intellectually, that they ought to feel profoundly. The best people, they think, have formidable instincts. They want to have them too. They are the emotional snobs. This type, I am sure, is new. In the eighteenth century people tried to make out that they were rational and polished. The cult of the emotions began in the nineteenth. It has had a new turn given to it by Bergsonism and Romain-Rollandism in the twentieth century. It is fashionable now to be exactly the opposite of what it was fashionable to be in the eighteenth century. So that you get emotionally impotent people simulating passion with their minds. Hypocrites of instinct, they often more than half deceive themselves. And, if they are intelligent, they completely deceive all but the most observant of those around them. They act the emotional part better than those who actually feel the emotions. It is Diderot's paradox of the comedian, in real life; the less you feel, the better you represent feeling. But while the comedian on the stage plays only for the audience in the theatre, those in real life perform as much for an inward as an outward gallery; they ask for applause also from themselves and, what is more, they get it; though always, I suppose, with certain secret reservations. What a curious type it is! I have known many specimens of it.'

Miss Thriplow stopped writing and thought of the specimens she had known. There was a surprisingly large number of them. Every human being is inclined to see his own qualities and weaknesses in others. Inevitably: since his own mental and moral attributes are the only ones of which he has any personal experience. The man who visualizes his multiplication table in a fantastic and definite picture imagines that all other men must do the same; the musician cannot conceive of a mind that is irresponsive to music. Similarly the ambitious man presumes that all his fellows are actuated by his own desire to achieve distinction and power. The sensualist sees sensuality everywhere. The mean man takes it for granted that everybody else is mean. But it must not be thought that the possessor of a vice who sees his own weakness in all his fellows therefore condones that weakness. We rarely give our own weaknesses their specific name, and are aware of them only in a vague and empirical fashion. The conscious and educated part of us condemns the vice to which we are congenitally subject. At the same time, our personal knowledge of the vice--a knowledge not conscious or intellectual, but obscure, practical and instinctive--tends to direct the attention of the superficial, educated part of the mind to manifestations of this particular weakness, tends even to make it detect such manifestations when they do not exist; so that we are constantly struck by the ludicrous spectacle of the avaricious passionately condemning avarice in others much more generous than themselves, of the lascivious crying out on lasciviousness, the greedy criticizing greed. Their education has taught them that these vices are blameworthy, while their personal and empirical knowledge of them causes them to take a special interest in these weaknesses and to see signs of them everywhere.

If the number of Miss Thriplow's friends who belonged to the type of the emotionally impotent was surprisingly large, the fact was due to a tendency in Miss Thriplow herself towards precisely this spiritual weakness. Being by nature a good deal more acute and self-analytic than most of the men and women who indignantly castigate their own inveterate sins, Miss Thriplow was not unaware, while she criticized others, of the similar defect in herself. She could not help suspecting, when she read Dostoievsky and Tchehov, that she was organized differently from these Russians. It seemed to her that she felt nothing so acutely, with such an intricate joy or misery as did they. And even before she had started reading the Russians, Miss Thriplow had come to the painful conclusion that if the Brontë sisters were emotionally normal, then she must be decidedly sub-normal. And even if they weren't quite normal, even if they were feverish, she desired to be like them; they seemed to her entirely admirable. It was the knowledge of her sub-normality (which she had come, however, to attribute to a lack of opportunities--we lead such sheltered, artificial lives--for the display of her potential passions and emotions) that had made Miss Thriplow so passionate an admirer of fine spontaneous feelings. It caused her at the same time to be willing and anxious to embrace every opportunity that presented itself for the testing of her reactions. It is experience that makes us aware of what we are; if it were not for contacts with the world outside ourselves we should have no emotions at all. In order to get to know her latent emotional self, Miss Thriplow desired to have as much experience, to make as many contacts with external reality as possible. When the external reality was of an unusual character and offered to be particularly fruitful in emotional revelations, she sought it with a special eagerness. Thus, a love affair with Calamy had seemed to her fraught with the most interesting emotional possibilities. She would have liked him well enough even if his drowsiness had concealed no inward fires. But the conviction that there was something 'queer,' as Mrs. Aldwinkle would say, and dangerous about the man made her imagine at every stage of their intimacy that she liked him better than she actually did; made her anxious to advance to further stages in the hope that, as he revealed himself, ampler and more interesting revelations of her own hidden soul might there be awaiting her. She had had her reward; Calamy had already genuinely frightened her, had revealed himself as excitingly brutal.

'You exasperate me so much,' he had said, 'that I could wring your neck.'

And there were moments when she half believed that he really would kill her. It was a new kind of love. She abandoned herself to it with a fervour which she found, taking its temperature, very admirable. The flood of passion carried her along; Miss Thriplow took notes of her sensations on the way and hoped that there would be more and intenser sensations to record in the future.