"Lydia Morrow? I don't seem to know the name," said Janet.
"Lydia Dyson, her maiden name, is the name she writes under."
This name Janet knew well enough. It was a familiar name wherever American magazines flourished; even among the Barrs of Brooklyn it was a household fixture. The stupendous fact was that Lydia Dyson's novels of approximated naughtiness, sensual slush and disembowelled passion, appeared serially and simultaneously in magazines with as different a clientele as the Saturday Morning Post, the Purple Book, Anybody's and the Women's Bazaar.
Claude added that he had his own reasons for calling the two young women freaks.
"All these people are loony on the subject of love," he said, with a wave of the hand that appeared to include the whole membership of the ball. "Some because they've had too much of it, but more because they've had too little. Mazie is one of a small group that is suffering from surfeit. But Charlotte and Lydia belong to the other class. Charlotte wants a husband without a whole lot of love, and Lydia wants a whole lot of love without a husband. As for Mazie, there's nothing left for her to want but a rich protector, with as little love in the bargain as possible."
This offhand analysis set Janet to wondering what Claude's own conception of love might be. He went blithely on:
"The difficulty with Charlotte is that she's too particular; with Lydia, that she's not particular enough. Not one-tenth particular enough for Gordon Morrow, her husband, who lives on her money but won't be kept in his place. He actually presumes to be furiously jealous. But, however comic a figure he may cut, who can blame him for drawing the line at a blackguard like Hutchins Burley? Here's Hutch staggering this way, now. After you, the impudent beggar!"
Naturally, in this quarter, Burley had little luck. Janet shrank away from him, and Claude froze him off as he had already done two or three times that night. Envenomed, but nothing daunted, Hutchins Burley careered, none too steadily, over to the circle around the sculptress. Claude watched him disgustedly.
"If Morrow catches him pawing all over his wife, there'll be trouble. And Lydia Dyson's not the woman to lift her little finger to avert it. She has a theory that 'Big Burley' is a sort of twentieth century edition of the Cave Man, a theory she is not above putting to the proof. Husband or no husband, a big scene is nectar and ambrosia to her."
He looked anxiously back at Charlotte Beecher's group. "Let's go away from here," he said, taking her arm with protective tenderness.