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PORTRAIT OF A MAN

was active and urgent. This was the first time to himself that he had had—with the exception of his cliff climbing—since his leaving the hotel last evening, and he was glad of the loneliness. The darkness seemed to help him; he felt that he could think here more clearly; he sat there, huddled up, his back against the wall, and let his brain go.

At first it would do little more than force him to ask over and over again: Why? Why? Why? Why did we do this imbecile thing? Why, when we had all the world to choose from, did we find our way back into this horrible house? It was a temptation to call the thing magic and to have done with it, really to suggest that the older Crispin had wizard powers, or at least hypnotic, and had willed them back. But he forced himself to look at the whole thing clearly as a piece of real life as true and as actual as the ham-and-eggs and buttered toast that in another hour or two all the world around him would be eating. Yes, as real and actual as a toothbrush, that was what this thing was; there was nothing wizard about Crispin; he was a dangerous lunatic, and there were hundreds like him in any asylum in the country. As for their return he knew well enough that in a fog people either walked round and round in a circle or returned to the place that they had started from.

At this point in his thoughts a tremor shook his body. He knew what that was from, and the