then transmutes into French, or reads in French but transmutes into English before he can understand. Then later, becoming firmly grounded, automatic, the student reads, writes, and thinks in French, without any recourse to English at all.
And so with our disguises. It was necessary for us to practise until our assumed roles became real; until to be our original selves would require a watchful and strong exercise of will. Of course, at first, much was mere blundering experiment. We were creating a new art, and we had much to discover. But the work was going on everywhere; masters in the art were developing, and a fund of tricks and expedients was being accumulated. This fund became a sort of text-book that was passed on, a part of the curriculum, as it were, of the school of Revolution.[1]
It was at this tune that my father disappeared. His letters, which had come to me regularly, ceased. He no longer appeared at our Pell Street quarters. Our comrades sought him everywhere. Through our secret service we ransacked every prison in the land. But he was lost as completely as if the earth had swal-
- ↑ Disguise did become a veritable art during that period. The revolutionists maintained schools of acting in all their refuges. They scorned accessories, such as wigs and beards, false eyebrows, and such aids of the theatrical actors. The game of revolution was a game of life and death, and mere accessories were traps. Disguise had to be fundamental, intrinsic, part and parcel of one's being, second nature. The Red Virgin is reported to have been one of the most adept in the art, to which must be ascribed her long and successful career.
