London life, however, by the sheer weight of its grinding daily machinery, worked its slow effect upon him. He became less sensitive to impressions. These duller periods were interrupted sometimes by states of brilliant receptiveness, as at Bourcelles; but there was a fence between the two--a rather prickly frontier, and the secret of combining them lay just beyond his reach. For his London mind, guided by reason, acted in a logical plane of two dimensions, while imagination, captained by childhood's fairy longings, cantered loose in all directions at once--impossibly. The first was the world; the second was the universe. As yet, he was unable to co-ordinate them. Minks, he was certain, could--and did, sailing therefore upon an even keel. There was this big harmony in little Minks that he envied. Minks had an outlet. Sydenham, and even the City, for him were fairyland; a motor-bus fed his inspiration as surely as a starlit sky; moon always rhymed with June, and forget with regret. But the inner world of Henry Rogers was not yet properly connected with the outer. Passage from one to the other was due to chance, it seemed, not to be effected at will. Moods determined the sudden journey. He rocked. But for his talks with little Minks, he might have wrecked. And the talks with Minks were about--well, he hardly knew what, but they all played round this map of fairyland he sought to reduce to the scale of everyday life. They discussed thought, dreams, the possibility of leaving the body in sleep, the artist temperament, the source of inspiration as well as the process of the imaginative faculty that created. They talked even of astronomy. Minks held that the life of practical, daily work was the bed-rock of all sane production, yet while preaching this he bubbled over with all the wild, entrancing theories that were in the air to-day. They were comical, but never dangerous--did not upset him. They were almost a form of play. And his master, listening, found these conversations an outlet somehow for emotions in himself he could not manage--a scaffolding that provided outlines for his awakening dreams to build upon. He found relief. For Minks, with his delightful tact, asked no awkward questions. He referred neither to the defunct Scheme, nor mentioned the new one that held 'a beauty of the stars.' He waited. Rogers also waited. And, while he waited, he grew conscious more and more of an enormous thing that passed, driving behind, _below_, his daily external life. He could never quite get at it. In there, down out of sight somewhere, he knew everything. His waking existence was fed invisibly from below. In the daytime he now frequently caught himself attempting to recover the memory of things that went on elsewhere, things he was personally involved in, vital things. This daylight effort to recover them was as irksome as the attempt to draw a loose hair that has wound about the tongue. He spoke at length to Minks about it.