To play the intellectual country squire had been all he desired on earth except Kathleen. From the beginning White's "Selborne" had remained his model for all books, Kathleen for all women. He was satisfied with these two components of perfect happiness, and with himself, as he was, for the third ingredient in a contented and symmetrical existence.
He had accepted his answer from her with more philosophy than she quite expected or was prepared for, saying that if she made a particular point of it he would go about next winter and give himself a chance to meet as many desirable young girls as she thought best; that it was merely wasting time, but if it made her any happier, he'd wait and endeavour to return to their relations of unsentimental comradeship until she was satisfied he knew his mind.
Kathleen was, at first, a little dismayed at his complacency. It was only certainty of himself. At twenty-two there is time for anything, and the vista of life ahead is endless. And there was one thing more which Kathleen did not know. Under the covering of this Seagrave complacency and self-centred sufficiency, all alone by itself was developing the sprouting germ of consideration for others.
How it started he himself did not know—nor was he even aware that it had started. But long, solitary rambles and the quiet contemplation of other things besides himself had awakened first curiosity, then a dawning suspicion of the rights of others.
In the silence of forests it is difficult to preserve complacency; under the stars modesty is born.
It began to occur to him, by degrees, that his own personal importance among his kind might be due, in part, to his fortune. And from the first invasion of that shocking idea matters progressed rather rapidly with the last of the Seagraves.
He said uneasily to Duane, once: "Are you going in seriously for painting?"
"I am in," observed Duane drily.
"Professionally?"
"Sure thing. God hates an amateur."