Tarr and Anastasya did not marry. They had no children. Tarr, however, had three children by a lady of the name of Rose Fawcett, who consoled him eventually for the splendours of his “perfect woman.” But yet beyond the dim though solid figure of Rose Fawcett, another rises. This one represents the swing-back of the pendulum once more to the swagger side. The cheerless and stodgy absurdity of Rose Fawcett required the painted, fine and inquiring face of Prism Dirkes.
THE END
EPILOGUE
The artists of this country make the following plain and pressing appeal to their fellow-citizens. I have heard them in the places where they meet.
(1) That in these tragic days when the forces of the nation, of intellect, of character, are being tested, they should grant more freedom to the artists and thinkers to develop their visions and ideas. That they should make an effort of sympathy. That the maudlin and the self-defensive Grin should be dropped.
(2) That the Englishman should become ashamed of his Grin as he is at present ashamed of solemnity. That he should cease to be ashamed of his “feelings”: then he would automatically become less proud of his Grin.
(3) That he should remember that seriousness and unsentimentality are quite compatible. Whereas a Grin usually accompanies loose emotionality.
(4) That in “facing the facts of existence” as he is at present compelled to do, he should allow artists to economize time in not having to circumvent and get round those facts, but to use them simply and directly.