Elizabeth lived very much in and on herself; Fanny was a whole-hearted extravert. Where Elizabeth hesitated, mused, suffered, Fanny acted, came a cropper, picked herself up gaily and started off again with just the same zest for experience. She was more smartly dressed than Elizabeth. Of course, Elizabeth was always quite charming and attractive, but you guessed that she had other things to think about beside clothes. Fanny loved clothes, and with no more money than Elizabeth, contrived to look stunningly fashionable where Elizabeth merely looked O. K. Oddly enough, Fanny was not devoured by the Scylla of clothes, the monster of millinery which is never satiate with its female victims. Her energy saved her from that. She and Elizabeth were both restlessly energetic, but whereas Elizabeth’s energy went into dreaming and arguing and trying to paint, Fanny’s went into all sorts of activities with all sorts of persons. She did not “do” anything, having sense enough to see that in most young women, “art” is merely a kind of safety-valve for sex. Fanny, I’m glad to say, did not need a safety-valve for her sex; the steam-pressure was kept regulated and the engine worked perfectly, thank you very much. She was emotionally and mentally far less complicated than Elizabeth, less profound; therefore to her the new sexual régime, where perfect freedom has happily taken the place of service, presented fewer possible snags. I’ve said, of course, that Fanny sometimes came a cropper; she did, but she hadn’t Elizabeth’s capacity for suffering, Elizabeth’s desolate despair when her silk purse turned out to be a sow’s ear—which every one else had known long before. Perhaps the remarkable quality of Elizabeth’s mind and character is best shown by the fact that she never said or implied anything mean or nasty about Fanny’s clothes.... * * * * * Reggie Burnside was a rich young man engaged in some mysterious “research work” at Cambridge, something connected with the structure of the atom, and highly impressive because the nature of his work could only be explained in elaborate mathematical symbols. He wore spectacles, talked in a high intellectual voice with the peculiar intonation and blurred syllables favoured by some members of that great centre of learning, and appeared exceedingly weary. Even Fanny’s impetuous dash never galvanized him into a spontaneous action or a natural remark. He also was extremely modern, and was devoted to Fanny. He was always at hand when nothing better presented itself—the permanent second string to the fiddle, or, as Fanny put it, one of her _fautes_, adding sotto-voce, my _faute-de-mieux_.