And he began to question his everyday life. It seemed mechanical. He had been shaped for the position he filled, fitted into it so tightly that he could never move. He would be carried on forever by the machine that had caught him up as a small boy when they had marked him down in the Lower Third. (They had written to his mother: "He is a boy of whom the school will one day be proud." And she had been so elated by the words.) He had accepted the force of the machine and let it take the place of his own will. That was unpracticed. He had used it for nothing. The machine had carried him to security and given him things apparently so coveted that his brother George could not now speak to him naturally, so great was his awe of his success. It was so easy to think the thoughts required by the machine. A kind of education had been pumped into him. He had now only to pump that same kind of education into other young men. The machine was efficient, himself efficient in it. There was satisfaction in that. But all the other men with whom he worked were elusive; so many of them, under the pleasant manners of the common-room, concealed despondency, a mood of resignation that was epidemic, more virulent at one time than another. Against that, too, René was in revolt. Instinctively he felt that if he surrendered to it he would fall also to that other danger in his domestic life. He tried to understand Linda. She was so successful. So many people liked her. Her social progress was amazing. Efficiency always gave him pleasure, and it was delightful to him, though he hated it, to feel her skillfully consolidating their position. She was tremendously active in all external things. It was her inward activity that he wished to understand. What were the things that satisfied that clever brain of hers? What her heart? He had long ago swept aside her pseudo-science, sociology, physiology, psychology, as external to herself, things worn as she wore clothes, very well, to be becoming and in the mode. It pleased her intellectually to talk of a hypothetical man and woman. What did that hypothetical man and woman become in art? He followed her in her reading, her music--so far as one so uninstructed could follow at all. . . . German sentimental _lieder_, colored lanterns over water, sweet flirtations, violins in the distance; a sighing for the passing of youth; a lingering over the sweets of love, with ultimately a withdrawal from love; a perfume. That was her art. In her drawing-room she had impressionist and post-impressionist drawings; in her own room she had pictures of young men and maidens in ballrooms and canoes and French boudoirs. He could see the charm of the things she loved, always melted to them, but never without a reaction, an angry stiffening of the will.