Frye was at the piano now, in Schwankovsky’s place, his head bowed over the keys, his eyes shut, playing a blues. Anne and Glenn were dancing to it. But Hugh did not go in. He stood, struck into wonder by a wholly new aspect he was suddenly vouchsafed of his brother and sister. They were not his little brother—his little sister. No. The weird, heart-rending “blues” had turned them into a type—into its own note, its wail. They were figurines—pale—beautiful with grief.... Aristocratic, narrow heads held high.... Their chiseled faces Benda masks. Every motion of foot and leg and the wandlike bodies was heart-rending with passion and grief’s restraint.... Perhaps love had turned Hugh clairvoyant. Perhaps acute happiness does that sometimes. But whatever the cause of the illumination of his sympathy, he realized Glenn and Anne as noble, beautiful. And for one flashing instant he saw, typified in them, the pain of Youth itself. He did no more about the key, but turned back to the car, awed and quieted. He did not understand precisely what had happened to him by this quickening in his soul of the power of insight. And above all he was not conscious of any concrete reason there might be in those two particular lives for his compassion. All that he knew definitely was that he had looked with naked eyes on the fortitude of youth.... He himself had never been so clear-cut as were Anne and Glenn. He had hoped and pretended his youth away. Glenn and Anne would go on dancing through their youth, dancing over its pains and anguishes, wand-held, reserved, with intricate steps.... Their eyes open.... Perfectly self-conscious.... But dancing still—with all the discipline of a patterned art. The minute he was in the car beside Ariel he forgot them. The big house and all it held was blotted out in shadow at their backs, and their path cut itself ahead through moonlight. But neither spoke. Ariel sat well over at her own side of the wide seat. Hugh watched the road and guided the wheel. As they neared their avenue it never entered Hugh’s head to suggest, “Let’s go on, up the river.” Although the road was a wide path of sheer moonlight, and the silvered river raced at their shoulders like an Angel of Lovers. For he knew that Ariel’s heart held one intention—to get to Grandam. From the minute when, at dinner, Schwankovsky had drawn attention to her ring (except for the swift bright period of the dance), this had been true. So he raced the roadster in under the dark arch and up the moon-laced wood road through the glimmering birches and beeches, around the silvery-dark curves to the door. There he spoke the first words that had been uttered since they were alone together: “I won’t drive the car around yet, but go up to see Grandam with you, Ariel.”