closely to my own case, I should feel small comfort. I love Aniela,
there is no doubt; but I have not arrived yet at a state that
precludes all reflection. But I do not consider this as a bad sign;
it simply means that I belong to a generation that has gone a step
farther on the way to knowledge.

There are always two persons within me,--the actor, and the spectator.
Often the spectator is dissatisfied with the actor, but at present
they both agree.

My father was the first to interrupt the silence.

"Tell me what she is like."

Since a description is an unsatisfactory way of painting a portrait, I
showed my father a large and really excellent photograph of Aniela, at
which he looked with the keenest interest. I was no less interested in
the study of his face, in which I saw not only the roused artist,
but also the refined connoisseur of female beauty, the old Leon
_l'Invincible_. Resting the photograph on the poor hand half
paralyzed, he put on his eyeglass with the right, and then holding the
likeness at a longer or shorter distance he began to say: "But for
certain details, the face is like one of those Ary-Schaeffer liked to
paint. How lovely she would look with tears in her eyes. Some people
dislike angelic faces in women, but I think that to teach an angel
how to become a woman is the very height of victory. She is very
beautiful, very uncommon looking. 'Enfin, tout ce qu'il y a de plus
beau au monde--c'est la femme.'"

Here he fumbled with his eyeglass, and then added: "Judging by the