Michaelis pursued his idea—_the_ idea of his solitary reclusion—the thought vouchsafed to his captivity and growing like a faith revealed in visions. He talked to himself, indifferent to the sympathy or hostility of his hearers, indifferent indeed to their presence, from the habit he had acquired of thinking aloud hopefully in the solitude of the four whitewashed walls of his cell, in the sepulchral silence of the great blind pile of bricks near a river, sinister and ugly like a colossal mortuary for the socially drowned. He was no good in discussion, not because any amount of argument could shake his faith, but because the mere fact of hearing another voice disconcerted him painfully, confusing his thoughts at once—these thoughts that for so many years, in a mental solitude more barren than a waterless desert, no living voice had ever combatted, commented, or approved. No one interrupted him now, and he made again the confession of his faith, mastering him irresistible and complete like an act of grace: the secret of fate discovered in the material side of life; the economic condition of the world responsible for the past and shaping the future; the source of all history, of all ideas, guiding the mental development of mankind and the very impulses of their passion— A harsh laugh from Comrade Ossipon cut the tirade dead short in a sudden faltering of the tongue and a bewildered unsteadiness of the apostle’s mildly exalted eyes. He closed them slowly for a moment, as if to collect his routed thoughts. A silence fell; but what with the two gas-jets over the table and the glowing grate the little parlour behind Mr Verloc’s shop had become frightfully hot. Mr Verloc, getting off the sofa with ponderous reluctance, opened the door leading into the kitchen to get more air, and thus disclosed the innocent Stevie, seated very good and quiet at a deal table, drawing circles, circles, circles; innumerable circles, concentric, eccentric; a coruscating whirl of circles that by their tangled multitude of repeated curves, uniformity of form, and confusion of intersecting lines suggested a rendering of cosmic chaos, the symbolism of a mad art attempting the inconceivable. The artist never turned his head; and in all his soul’s application to the task his back quivered, his thin neck, sunk into a deep hollow at the base of the skull, seemed ready to snap. Mr Verloc, after a grunt of disapproving surprise, returned to the sofa. Alexander Ossipon got up, tall in his threadbare blue serge suit under the low ceiling, shook off the stiffness of long immobility, and strolled away into the kitchen (down two steps) to look over Stevie’s shoulder. He came back, pronouncing oracularly: “Very good. Very characteristic, perfectly typical.” “What’s very good?” grunted inquiringly Mr Verloc, settled again in the corner of the sofa. The other explained his meaning negligently, with a shade of condescension and a toss of his head towards the kitchen: