If it is that I am in the least French, and that you do not like it—’ ‘I don’t like it,’ snapped the old man. And as he walked by her side they began a wrangle that was none the less pleasant to Ann Veronica because it served to banish a disagreeable preoccupation. She had never been "My child" or "My dear"; always her name—Ruth. 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. He seemed to possess a penetration and cunning beyond his years—to hide a man's judgment under a boy's mask.
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