studio. It was a large high room, full of people.

Motionless, by himself, close to the door, stood an old man, very thin
and rather bent, with silvery hair, and a thin silvery beard grasped in
his transparent fingers. He was dressed in a suit of smoke-grey cottage
tweed, which smelt of peat, and an Oxford shirt, whose collar, ceasing
prematurely, exposed a lean brown neck; his trousers, too, ended very
soon, and showed light socks. In his attitude there was something
suggestive of the patience and determination of a mule. At Cecilia's
approach he raised his eyes. It was at once apparent why, in so full a
room, he was standing alone. Those blue eyes looked as if he were about
to utter a prophetic statement.

"They have been speaking to me of an execution," he said.

Cecilia made a nervous movement.

"Yes, Father?"

"To take life," went on the old man in a voice which, though charged
with strong emotion, seemed to be speaking to itself, "was the chief
mark of the insensate barbarism still prevailing in those days. It
sprang from that most irreligious fetish, the belief in the permanence
of the individual ego after death. From the worship of that fetish had
come all the sorrows of the human race."

Cecilia, with an involuntary quiver of her little bag, said:

"Father, how can you?"