walled-in pools--like the basins at Versailles--within the limits of constituted society.
In this somewhat legal phraseology love is bound to sex, age, and social classes; it is either natural or unnatural, legitimate or the reverse. But this is a mere trickle of water from the deep springs of love, which is as the law of gravitation that keeps the stars in their courses, and cares nothing for the ways that we trace for it. This infinite love fulfils itself between souls far removed by time and space; across the centuries it unites the thoughts of the living and the dead; weaves close and chaste ties between old and young hearts; through it, friend is nearer to friend, the child is closer in spirit to the old man than are husband or wife in the whole course of their lives. Between fathers and children these ties often exist unconsciously, and "the world" as our forefathers used to say, counts so little in comparison with love eternal, that the positions are sometimes reversed, and the younger may not always be the most childlike. How many sons are there who feel a devout paternal affection for an old mother? And do we not often see ourselves small and humble under the eyes of a child? The look with which the Bambino of Botticelli contemplates the innocent Virgin is heavy with a sad unconscious experience, and as old as the world.
The affection of Clerambault and Rosine was of this sort; fine, religious, above the reach of reason. That is why, in the depths of the troubled sea, below the pains and the conflicts of conscience caused by the war, a secret drama went on, without signs, almost without words, between these hearts united by a sacred love. This unavowed sentiment explained the sensitiveness of their mutual reactions. At first Rosine drew away in silence, disappointed in her affection, her secret worship tarnished, by the effect of the war on her father; she stood apart from him, like a little antique statue, chastely draped. At once Clerambault became uneasy;
