The passage's close alignment with Waythorn's point of view most importantly allows the narrator to

Waythorn dropped into another chair, staring vaguely ahead of him. On his dressing-table stood a photograph of Alice, taken when he had first known her. She was Alice Varick then. How fine and exquisite he had thought her! Those were Varick's pearls about her neck.

Had Haskett ever given her any trinkets, and what had become of them, Waythorn wondered? He realized suddenly that he knew very little of Haskett's past or present situation; but from the man's appearance and manner of speech he could reconstruct with curious precision the surroundings of Alice's first marriage. And it startled him to think that she had, in the background of her life, a phase of existence so different from anything with which he had connected her.

Varick, whatever his faults, was a gentleman, in the conventional, traditional sense of the term: the sense which at that moment seemed, oddly enough, to have most meaning to Waythorn. He and Varick had the same social habits, spoke the same language, understood the same allusions. But this other man...it was grotesquely uppermost in Waythorn's mind that Haskett had worn a made-up tie attached with an elastic.

Why should that ridiculous detail symbolize the whole man? Waythorn was exasperated by his own paltriness, but the fact of the tie expanded, forced itself on him, became as it were the key to Alice's past. He could see her, as Mrs. Haskett, sitting in a “front parlor” furnished in plush, with a pianola, and a copy of “Ben Hur” on the centre-table.

He could see her going to the theatre with Haskett, or perhaps even to a “Church Sociable,” she in a “picture hat” and Haskett in a black frock-coat, a little creased, with the made-up tie on an elastic. On the way home they would stop and look at the illuminated shop-windows.

For the moment his foremost thought was one of wonder at the way in which she had shed the phase of existence which her marriage with Haskett implied. It was as if her whole aspect, every gesture, every inflection, every allusion, were a studied negation of that period of her life.

Waythorn started up, checking himself in the analysis of her motives. What right had he to create a fantastic effigy of her and then pass judgment on it?