Mabel was not demonstrative. She had no enthusiasms and no sympathies. Enthusiasms and sympathies in other people made her laugh with her characteristic burst of sudden laughter. It was not, as with some persons, that matters calling for sympathy made her impatient,--as very robust people are often intensely impatient with sickness and infirmity. She never would say, "I have no patience with such and such or so and so." She had plenty of patience. It was simply that she had no imagination whatsoever. Whatever she saw or heard or read, she saw or heard or read exactly as the thing presented itself. If she saw a door she saw merely a piece of wood with a handle and a keyhole. It may be argued that a door is merely a piece of wood with a handle and a keyhole, and that is what Mabel would have argued. But a door is in fact the most intriguing mystery in the world because of what may be the other side of it and of what goes on behind it. To Mabel nothing was on the other side of anything she saw and nothing went on behind it. A person or a creature in pain was to Mabel a person or a creature "laid up." Laid up--out of action--not working properly: like a pencil without a point. A picture was a decoration in paint and was either a pretty decoration in paint or a not pretty decoration in paint. Music was a tune, and was either a tune or merely music. A book was a story, and if it was not a story it was simply a book. A flower was a decoration. Poetry, such as "While the still morn went out with sandals grey," was simply writing which, obviously, had no real meaning whatsoever, and obviously--well, read the thing--was not intended to have any meaning. A fine deed was fine precisely in proportion to the social position of the person who performed it. Scott's death at the South Pole, when that was announced in 1913, was fine because he was a gentleman. The disaster of the colliers entombed in the Welsh Senghenydd mine which happened in the same year was sad. "How sad!" She read the account, on the first day, with the paper held up wide open and said "How sad!" and turned on to something for which the paper might be folded back at the place and read comfortably. Scott's death she read with the paper folded back at the account. She liked seeing the pictures of Lady Scott and of Scott's little boy. She read the caption under one of the pictures of the wives and families of the four hundred and twenty-nine colliers killed in the Senghenydd mine, but not under any of the others. The point she noted was that all the women "of that class" wore "those awful cloth caps",--the colliers' women just the same as the women in the mean streets of Tidborough Old Town.