To this day I question whether Cousin Judd got more out of his religion than out of this most unchristian experience, from which he had come back silver tipped as it were, from that emperym into which men pass when they are by great emotions a little removed from themselves, to kindle in my young mind a realization of the preciousness of passion over all human assets. It came to me, however, in the years between twelve and fifteen that my mother's relations did things with their knives and neglected others with their forks that were not done in circles that by virtue of just such observances, got themselves called Good Society. I was aware of a sort of gracelessness in their vital processes, in much the same way that I knew that the striped and flowered carpet in my mother's best room did not harmonize with the wall paper, and that the curtains went badly with them both. I have to go back to this, and to the fact that my clothes were chosen for wearing qualities rather than becomingness, to account for a behaviour that, as I began to emerge from the illumined mists of play, my mother complained of under the head of my "not taking an interest." How else was I to protect myself from the thousand inharmonies that chafed against the budding instinct of beauty: the plum-coloured ribbons I was expected to wear with my brown dress, the mottled Japanese pattern upon the gilt ground of the wall paper, against which I had pushed out a kind of shell, hung within with the glittering stuff of dreams. For just about the time I should have been absorbed in Cousin Lydia's beaded dolman and the turning of my mother's one silk, I was regularly victimized by the fits and starts of temperament, instinctive efforts toward the rehearsal of greater passions than had appeared above my horizon, flashes of red and blue and gold thrown up on the plain Taylorville surface of my behaviour, with the result of putting me at odds with the Taylorvillians.