“My Arcady missed its lovers. I realised after they had gone that they had been real lovers, imperative to one another, and that they had not simply drifted into marriage as a result of upbringing and propinquity. Had their parents’ consent been for some reason refused, they would, I am convinced, have gone away together. Amos Pennistan, in one of his rare moments of expansion, told me as much himself. ‘Nancy,’ he said, ‘it never did to cross Nancy. She was strong-willed from three months upward. Ruth, now, she’s a steady, tractable girl for all her dark looks. Of the two, give me Ruth as a daughter.’ “You may imagine my profound interest in the study of this strain sprung from the stock of Concha and Oliver Pennistan. Here I had Nancy, with her slight English prettiness, and the fiery will which might never be crossed; and Ruth, who looked like a gipsy and was in fact steady and tractable. I could not help feeling that fate had her hand on these people, and mocked and pushed them hither and thither in the thin disguise of heredity. You remember Francis Galton and the waltzing mice, how he took the common mouse and the waltzing mouse, and mated them, and how among their progeny there were a common mouse, a black and white mouse, and a mouse that waltzed; and how in the subsequent generations the common brown house mouse predominated, but every now and then there came a mouse that waltzed and waltzed, restless and tormented, until in the endless pursuit of its tail it died, dazed, blinded, perplexed, by the relentless fate that had it in grip. Well, I had my mice in a cage, and Concha, the dancer, the waltzing mouse, sat mumbling by the fire.” I shuddered. I did not understand Malory. He had spoken of the violence of his feeling when he first caught sight of Ruth; I could not reconcile that mood with his present chill analysis. “You held a microscope over their emotions,” I said. “I was afraid there would not be many emotions left now that Nancy was gone,” he replied regretfully. “I missed her as a study, and I missed her as an intrinsic part of my Arcady. I turned naturally for compensation to Ruth and to Rawdon Westmacott, but here I realised at once that I must dissociate the figures from the landscape. They would not fit. No; contrive and compress them as I might, they would not fit. I am very sensitive to the relation of the picture to the frame, and I was troubled by their southern exuberance in the midst of English hay and cornfields. Now could I but have had them here ...” and again the cropping goats, the mountains, and the torrent rushed across the magic lantern screen in my mind.