The Scotchman informed Ann Veronica that your view of beauty necessarily depended on your metaphysical premises, and the young man with the Russell-like hair became anxious to distinguish himself by telling the Japanese student that Western art was symmetrical and Eastern art asymmetrical, and that among the higher organisms the tendency was toward an external symmetry veiling an internal want of balance. But in its stead—toward morning—there appeared another idea which appealed to him as sublime, appealed to the primitive conscience, to his artistic sense of the drama, to the poet and the novelist in him. In his desire to be emphatic and to avenge himself for his over-night distresses, he speedily became brutal, more brutal than she had ever known him before. Shari was to be protected, to be dissuaded from driving in cars with older boys at night, to be steered away from dope and beer and certain friends who had no plans to work or to go to college. “Why could you not confide in us?” “Do what?” said Ann Veronica. ‘His granddaughter?’ ‘Yes, his son’s daughter. “He has asked to see some one,” he whispered to the doctor. But she must not laugh.
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