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(7)flapped, wood that creaked, the bare legs of tables, saucepansand china already furred, tarnished, cracked. What people hadshed and left - a pair of shoes, a shooting cap, some fadedskirts and coats in wardrobes - those alone kept the human shapeand in the emptiness indicated how once they were filled andanimated; how once hands were busy with hooks and buttons; howonce the looking glass had held a face, leaning, looking; hadheld a world hollowed out in which a figure turned, a hand flashed,the door opened, in came children; rushing and tumbling; wentout again. Now, day after day, light turned, like a flowerreflected in water, its sharp image on the wall opposite. Onlythe shadows of the trees, flourishing in the wind, made obeisanceon the wall, and for a moment darkened the pool in which lightreflected itself; or birds, flying, made a soft spot flutteracross the bedroom floor.

So loveliness reigned and stillness reigned, and together madethe shape of loveliness itself, a form from which life had parted;solitary like a pool at evening, far distant, seen from a trainwindow, vanishing so quiclkly that the pool, pale in the evening,is scarcely robbed of its solitude, though once seen. Stillness&lovelinessThese additions were first made lightly and then traced over in darker ink. A slash mark after 'loveliness' seems to emphasize its placement in the line.clasped hands in the bedroom; among the shrouded jugs and sheetedchairs, even the prying of the wind, the soft nose of the clammysea airs, rubbing, snuffling, iterating and reiterating theirquestions - "Will you fade? Will you perish?" scarcely disturbed*this peace, this indifference, this air of integrity, as if thewhere there is no compromise, truth were there undraped,A line drawn from 'undraped' to the space between 'integrity,' and 'the' indicates the placement of the addition.