All the rooms were thick with queer little objects that indicated a quite beaver-like industry in the production of "work." There were embroidered covers for nearly every article on the wash-hand-stand, and mats of wool and crochet wherever anything stood on anything; there were "tidies" everywhere, and odd little brackets covered with gilded and varnished fir cones and bearing framed photographs and little jars and all sorts of colourless, dusty little objects, and everywhere on the walls tacks sustained crossed fans with badly painted flowers or transfer pictures. There was a jar on the bedroom mantel covered with varnished postage stamps and containing grey-haired dried grasses. There seemed to be a moral element in all this, for in the room Sydney shared with Rom there was a decorative piece of lettering which declared that-- "Something attempted, something done, Has earned a night's repose." There were a great number of texts that set Marjorie's mind stirring dimly with intimations of a missed significance. Over her own bed, within the lattice of an Oxford frame, was the photograph of a picture of an extremely composed young woman in a trailing robe, clinging to the Rock of Ages in the midst of histrionically aggressive waves, and she had a feeling, rather than a thought, that perhaps for all the oddity of the presentation it did convey something acutely desirable, that she herself had had moods when she would have found something very comforting in just such an impassioned grip. And on a framed, floriferous card, these incomprehensible words: |================================| |THY GRACE IS SUFFICIENT FOR ME. | |================================| seemed to be saying something to her tantalizingly just outside her range of apprehension. Did all these things light up somehow to those dispossessed people--from some angle she didn't attain? Were they living and moving realities when those others were at home again?