Omitting more subtile inquisition into this deftly-winding theme, it will be enough to hint, perhaps, that possibly one source of this new hatefulness had its primary and unconscious rise in one of those profound ideas, which at times atmospherically, as it were, do insinuate themselves even into very ordinary minds. In the strange relativeness, reciprocalness, and transmittedness, between the long-dead father's portrait, and the living daughter's face, Pierre might have seemed to see reflected to him, by visible and uncontradictable symbols, the tyranny of Time and Fate. Painted before the daughter was conceived or born, like a dumb seer, the portrait still seemed leveling its prophetic finger at that empty air, from which Isabel did finally emerge. There seemed to lurk some mystical intelligence and vitality in the picture; because, since in his own memory of his father, Pierre could not recall any distinct lineament transmitted to Isabel, but vaguely saw such in the portrait; therefore, not Pierre's parent, as any way rememberable by him, but the portrait's painted _self_ seemed the real father of Isabel; for, so far as all sense went, Isabel had inherited one peculiar trait no-whither traceable but to it. And as his father was now sought to be banished from his mind, as a most bitter presence there, but Isabel was become a thing of intense and fearful love for him; therefore, it was loathsome to him, that in the smiling and ambiguous portrait, her sweet mournful image should be so sinisterly becrooked, bemixed, and mutilated to him. When, the first shock, and then the pause were over, he lifted the portrait in his two hands, and held it averted from him.