Her
speech was unaffectedly that of a Milwaukee Avenue gamin, and it served
adequately and admirably as a vehicle for the expression of her emotions
and ideas.
She formed her likes and dislikes with a complete disregard of the
social or professional importance of the objects of them. She took an
immediate liking to Rose; gave her some valuable hints on dancing, took
to calling her "dearie" before the end of the second rehearsal and, with
her arm around her, confided to her in terms of blood-curdling
profanity, her opinion of Stewart Lester, the tenor, who played the part
of Dick Benham in the piece.
The queer thing was that she and Patricia were on the best of terms.
They didn't compete, that was it, Rose supposed, and they were both good
enough cosmopolites to bridge across the antipodal distances between
their respective traditions and environments. Patricia hated the tenor
as bitterly as Anabel. And, in her own way, she was as pleasantly
friendly to Rose. There were no endearments or caresses, naturally, but
her brusk nods of greeting and farewell seemed to have real good feeling
behind them.
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