On the day that she first heard that she was to go to Germany to be "finished" the flashing thought that came to her was that, for a time at any rate, the "half-hour" would be suspended. Standing there thinking of the days passing without the shadow of that interview about them was like emerging from some black and screaming, banging, shouting tunnel into the clear serenity of a shining landscape. Two years might count for her escape, and perhaps, on her return, she would be old enough for her grandmother to have lost her terrors--perhaps.... Meanwhile, that Germany, with its music and forests and toys and fairies, danced before her. Her two years in it gave her all that she had expected; it gave her Wagner and Mozart and Beethoven, it gave her Goethe and Heine, Jean Paul and Heyse, Hauptmann and Moerike, it gave her a perception of life that admitted physical and spiritual emotions on precisely the same level, so that a sausage and the _Unfinished Symphony_ gave you the same ecstatic crawl down your spine and did not, for an instant, object to sharing that honour. Munich also gave her the experience and revelations of May Eversley. There were some twenty or thirty girls who were, with Rachel, under the finishing care of Frau Bebel, but Rachel held herself apart from them all. She could not herself have explained why she did so. It was partly because she felt that she had nothing, whether experience or discovery, to give to them, partly because they seemed already so happy and comfortable amongst themselves that they had surely no need of her, and partly because she feared that from some person or some place, suddenly round the corner there would spring the terror again. She could even fancy that her grandmother, watching her, had placed horrors behind curtains, closed doors, grimed and shuttered windows.--"If you think, my dear," she might perhaps be saying, "that you've escaped by this year or two in Germany, you're mightily mistaken.--Back to me you're coming." But May Eversley was different from the other girls. She was different because she saw things without a muddle, knew what she wanted, knew what she disliked, knew what was delightful, knew what was intolerable. To Rachel this clear-cut decision was more enviable than any other quality that one could have. At this stage of her experience it was the assent, so it seemed to her, that could give life its intensest value. "Sit down and see, without any exaggeration or false colouring, what you've got. Take away, ruthlessly, anything that you imagine that you've got but haven't. See what you want. Take away ruthlessly everything that you imagine that you would like to have but are not confident of securing. See what's happened to you in the past. Take away ruthlessly any sentimental repentances or sloppy regrets, but learn quite resolutely from your ugly mistakes."