morning when the detective came with the sack he had been writing. It was extraordinary that he was able to write. He knew that it was extraordinary. Sometimes he sat in the evening and tried to understand it. In that fearful time before the detective came, and most of all in those terrible days when Emily Gaunt was drifting irrecoverably up and down in the river, no conceivable power could have wrung from him a single line. He could no more have written poetry than he could have written a scientific treatise. But now, amazingly, he could command the spirit, the idea, the concentration⁠—everything; he could become absorbed, could lose himself in his work. The idea he was working on had been with him for a long time; he had made notes for the poem many weeks back, long before Emily had come to the house; he had written a few lines of it just before she left it. But one wanted more than ideas to do good work of that kind; one must have⁠—what was it?⁠—“peace of mind,” presumably. There must be no tempers, or terrors, or worries in the mind. And, one would have thought, no remorse, no pricking of conscience. But perhaps that did not matter. For otherwise how could he now have “peace of mind”? Stephen felt that his conscience was working; he was sorry for what he had done⁠—truly sorry.