““From all we have said about plotting in general it should be evident that even in those modern plots in which events happen by laws not immediately visible, as when, for instance, the tattooed man in the circus reveals in the course of a whimsical conversation that he has on his chest a tattoo of the little girl now looking at him, a child he has never before seen, or as when, in Isak Dinesen, a decorous old nun turns abruptly into a monkey--there must be some rational or poetically persuasive basis.””