Have I read you right? But the human face--the human face at the top of the fullest sheet of print holds more, withholds more. Now, eyes open, she looks out; and in the human eye--how d'you define it?--there's a break--a division--so that when you've grasped the stem the butterfly's off--the moth that hangs in the evening over the yellow flower--move, raise your hand, off, high, away. I won't raise my hand. Hang still, then, quiver, life, soul, spirit, whatever you are of Minnie Marsh--I, too, on my flower--the hawk over the down--alone, or what were the worth of life? To rise; hang still in the evening, in the midday; hang still over the down. The flicker of a hand--off, up! then poised again. Alone, unseen; seeing all so still down there, all so lovely. None seeing, none caring. The eyes of others our prisons; their thoughts our cages. Air above, air below. And the moon and immortality.... Oh, but I drop to the turf! Are you down too, you in the corner, what's your name--woman--Minnie Marsh; some such name as that? There she is, tight to her blossom; opening her hand-bag, from which she takes a hollow shell--an egg--who was saying that eggs were cheaper? You or I? Oh, it was you who said it on the way home, you remember, when the old gentleman, suddenly opening his umbrella--or sneezing was it? Anyhow, Kruger went, and you came "home a back way," and scraped your boots. Yes. And now you lay across your knees a pocket-handkerchief into which drop little angular fragments of eggshell--fragments of a map--a puzzle. I wish I could piece them together! If you would only sit still. She's moved her knees--the map's in bits again. Down the slopes of the Andes the white blocks of marble go bounding and hurtling, crushing to death a whole troop of Spanish muleteers, with their convoy--Drake's booty, gold and silver. But to return----