I generalised her at last. I suddenly discovered that poetry was about her and that she was the key to all that had hitherto seemed nonsense about love. I took to reading novels, and if the heroine could not possibly be like her, dusky and warm and starlike, I put the book aside.... I hesitate and add here one other confession. I want to tell this thing because it seems to me we are altogether too restrained and secretive about such matters. The cardinal thing in life sneaks in to us darkly and shamefully like a thief in the night. One day during my Cambridge days--it must have been in my first year before I knew Hatherleigh--I saw in a print-shop window near the Strand an engraving of a girl that reminded me sharply of Penge and its dusky encounter. It was just a half length of a bare-shouldered, bare-breasted Oriental with arms akimbo, smiling faintly. I looked at it, went my way, then turned back and bought it. I felt I must have it. The odd thing is that I was more than a little shamefaced about it. I did not have it framed and hung in my room open to the criticism of my friends, but I kept it in the drawer of my writing-table. And I kept that drawer locked for a year. It speedily merged with and became identified with the dark girl of Penge. That engraving became in a way my mistress. Often when I had sported my oak and was supposed to be reading, I was sitting with it before me. Obeying some instinct I kept the thing very secret indeed. For a time nobody suspected what was locked in my drawer nor what was locked in me. I seemed as sexless as my world required. 5 These things stabbed through my life, intimations of things above and below and before me. They had an air of being no more than incidents, interruptions.