THE STORY IN IT
of their monotony is a complaint of their conditions. When you say we get always the same couple what do you mean but that we get always the same passion? Of course we do!" Voyt declared. "If what you're looking for is another, that's what you won't anywhere find."
Maud for a while said nothing, and Mrs. Dyott seemed to wait. "Well, I suppose I'm looking, more than anything else, for a decent woman."
"Oh then, you mustn't look for her in pictures of passion. That's not her element nor her whereabouts."
Mrs. Blessingbourne weighed the objection. "Doesn't it depend on what you mean by passion?"
"I think one can mean only one thing: the enemy to behaviour."
"Oh, I can imagine passions that are, on the contrary, friends to it."
Her interlocutor thought. "Doesn't it depend perhaps on what you mean by behaviour?"
"Dear, no. Behaviour is just behaviour—the most definite thing in the world."
Then what do you mean by the 'interest' you just now spoke of? The picture of that definite thing?"
"Yes—call it that. Women aren't always vicious, even when they're———"
"When they're what?" Voyt asked.
"When they're unhappy. They can be unhappy and good."
"That one doesn't for a moment deny. But can they be good and interesting?"
"That must be Maud's subject!" Mrs. Dyott explained. "To show a woman who is. I'm afraid, my dear," she continued, "you could only show yourself."
"You'd show then the most beautiful specimen conceivable"—and Voyt addressed himself to Maud. "But doesn't it prove that life is, against your conten-
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