Duer did not understand the mental sword-thrusts involved in these feminine bickerings. He was likely to be deceived by the airy geniality which sometimes accompanied the bitterest feeling. He could stand by listening to a conversation between Marjorie and Miss Ayres, or Marjorie and any one else whom she did not like, and miss all the subtle stabs and cutting insinuations which were exchanged, and of which Marjorie was so thoroughly capable. He did not blame her for fighting for herself if she thought she was being injured, but he did object to her creating fresh occasions, and this, he saw, she was quite capable of doing. She was constantly looking for new opportunities to fight with Mildred Ayres and Miss Russell or any one else whom she thought he truly liked, whereas with those in whom he could not possibly be interested she was genial (and even affectionate) enough. But Duer also thought that Mildred might be better engaged than in creating fresh difficulties. Truly, he had thought better of her. It seemed a sad commentary on the nature of friendship between men and women, and he was sorry. But, nevertheless, Marjorie found a few people whom she felt to be of her own kind. M. Bland, who had sponsored Duer’s first piano recital a few months before, invited Duer and Marjorie to a--for them--quite sumptuous dinner at the Plaza, where they met Sydney Borg, the musical critic of an evening paper; Melville Ogden Morris, curator of the Museum of Fine Arts, and his wife; Joseph Newcorn, one of the wealthy sponsors of the opera and its geniuses, and Mrs. Newcorn. Neither Duer nor Marjorie had ever seen a private dining-room set in so scintillating a manner. It fairly glittered with Sèvres and Venetian tinted glass. The wine-goblets were seven in number, set in an ascending row. The order of food was complete from Russian caviare to dessert, black coffee, nuts, liqueurs, and cigars.