"Just look at that girl's movements-- look at that strange, bent-forward pose like a marionette, and the way her arms twist from the elbow like a cobra rising to strike. It's grotesque, it's even ugly, with a sort of wilful ugliness. And there's something sinister in it too. There's a touch of the diabolical in all Mongols. And yet when you look closely, what art, what centuries of culture you can see behind it! Every movement that girl makes has been studied and handed down through innumerable generations. Whenever you look closely at the art of these Eastern peoples you can see that--a civilization stretching back and back, practically the same, into times when we were dressed in woad. In some way that I can't define to you, the whole life and spirit of Burma is summed up in the way that girl twists her arms. When you see her you can see the rice fields, the villages under the teak trees, the pagodas, the priests in their yellow robes, the buffaloes swimming the rivers in the early morning, Thibaw's palace--'[...]
For she perceived that Flory, when he spoke of the 'natives', spoke nearly always IN FAVOUR of them. He was forever praising Burmese customs and the Burmese character; he even went so far as to contrast them favourably with the English. It disquieted her. After all, natives were natives--interesting, no doubt, but finally only a 'subject' people, an inferior people with black faces. His attitude was a little TOO tolerant. Nor had he grasped, yet, in what way he was antagonizing her. He so wanted her to love Burma as he loved it, not to look at it with the dull, incurious eyes of a memsahib! He had forgotten that most people can be at ease in a foreign country only when they are disparaging the inhabitants."
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