Mme. de Villeparisis's carriage moved fast. Scarcely had I time to see the girl who was coming in our direction; and yet--as the beauty of people is not like the beauty of things, as we feel that it is that of an unique creature, endowed with consciousness and free-will--as soon as her individuality, a soul still vague, a will unknown to me, presented a tiny picture of itself, enormously reduced but complete, in the depths of her indifferent eyes, at once, by a mysterious response of the pollen ready in me for the pistils that should receive it, I felt surging through me the embryo, as vague, as minute, of the desire not to let this girl pass without forcing her mind to become conscious of my person, without preventing her desires from wandering to some one else, without coming to fix myself in her dreams and to seize and occupy her heart. Meanwhile our carriage rolled away from her, the pretty girl was already left behind, and as she had--of me--none of those notions which constitute a person in one's mind, her eyes which had barely seen me had forgotten me already. Was it because I had caught but a fragmentary glimpse of her that I had found her so attractive? It may have been. In the first place, the impossibility of stopping when I came to her, the risk of not meeting her again another day, give at once to such a girl the same charm as a place derives from the illness or poverty that prevents us from visiting it, or the so unadventurous days through which we should otherwise have to live from the battle in which we shall doubtless fall. So that, if there were no such thing as habit, life must appear delightful to those of us who would at every moment be threatened with death--that is to say, to all mankind. Then, if our imagination is set going by the desire for what we may not possess, its flight is not limited by a reality completely perceived, in these casual encounters in which the charms of the passing stranger are generally in direct ratio to the swiftness of our passage. If only night is falling and the carriage is moving fast, whether in town or country, there is not a female torso, mutilated like an antique marble by the speed that tears us away and the dusk that drowns it, but aims at our heart, from every turning in the road, from the lighted interior of every shop, the arrows of Beauty, that Beauty of which we are sometimes tempted to ask ourselves whether it is, in this world, anything more than the complementary part that is added to a fragmentary and fugitive stranger by our imagination over-stimulated by regret.