When he spoke again, it was with a slow precision as if he were trying
with extreme care to find the right words.

"You see," he said, "he had as an added foundation for his
faith--perhaps as the main foundation for it--his knowledge of the other
man's character; the character of the man the girl married. It was"--he
spoke more hastily and, suddenly raising his head, looked at Mary
Rochefort, who, sunk back in her chair, was gazing straight ahead of
her--"an especial kind of character. I must dwell on it for a moment,
and you must mark well what I say, for on it my parable largely depends.
It was a character of the sort that to any but an odalisk means eventual
shame; to any woman of pride, you understand, eventually of necessity a
broken heart. It was a queer character, but not uncommon. Outwardly very
attractive. Mackintosh described it succinctly, shortly, as we sat there
by the fire. He spoke between his teeth--the faint wind stirring the
desert sand sounded rather like his voice." Burnaby paused again and
reached over for a cigarette and lit it deliberately.

"He was a man," he continued, "who apparently had the faculty of making
most women love him and, in the end, the faculty of making all women
hate him. I imagine to have known him very well would have been to leave
one with a mental shudder such as follows the touching of anguilliform
material; snake-like texture. It would leave one ashamed and broken, for
fundamentally he was contemptuous of the dignity of personality,
particularly of the personalities of women. He was a collector, you
understand, a collector of beauty, and women, and incidents--amorous
incidents. He carried into his personal relationships the cold
objectiveness of the artist. But he wasn't a very great artist, or he
wouldn't have done so; he would have had the discrimination to control
the artist's greatest peril. It's a flame, this cold objectiveness, but