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Howards End sister, but she was pretty, and so apt to have a more amusing time. People gathered round her more readily, especially when they were new acquaintances, and she did enjoy a little homage very much. When their father died and they ruled alone at Wickham Place, she often absorbed the whole of the company, while Margaret—both were tremendous talkers—fell flat. Neither sister bothered about this. Helen never apologized afterwards, Margaret did not feel the slightest rancour. But looks have their influence upon character. The sisters were alike as little girls, but at the time of the Wilcox episode their methods were beginning to diverge; the younger was rather apt to entice people, and, in enticing them, to be herself enticed; the elder went straight ahead, and accepted an occasional failure as part of the game.

Little need be premised about Tibby. He was now an intelligent man of sixteen, but dyspeptic and difficile. 



It will be generally admitted that Beethoven's Fifth Symphony is the most sublime noise that has ever penetrated into the ear of man. All sorts and conditions are satisfied by it. Whether you are like Mrs. Munt, and tap surreptitiously when the tunes come—of course, not so as to disturb the others; or like Helen, who can see heroes and shipwrecks in the music's flood; or like Margaret, who can only see the music; or like Tibby, who is profoundly versed in counterpoint, and holds the full score open on his knee; or like their cousin, Fräulein Mosebach, who remembers all the time that Beethoven is "echt Deutsch"; or like Fräulein Mosebach's young man, who can remember nothing but Fräulein Mosebach: in any case, the passion of your life becomes more vivid, and you are bound to admit that such a noise is cheap at two shillings. It is cheap, even if you hear it in 