Part 5

As a rule, the little woman is brave. When the lymphatic giantess falls into a faint or goes off into hysterics, she storms, or bustles about, or holds on like a game terrier, according to the work on hand. She will fly at any man who annoys her, and bears herself as equal to the biggest and strongest fellow of her acquaintance. In general she does it all by sheer pluck, and is not notorious for subtlety or craft. Had Delilah been a little woman she would never have taken the trouble to shear Samson's locks. She would have defied him with all his strength untouched on his head, and she would have overcome him too. Judith and Jael were both probably large women. The work they went about demanded a certain strength of muscle and toughness of sinew; but who can say that Jezebel was not a small, freckled, auburn-haired Lady Audley of her time, full of the concentrated fire, the electric force, the passionate recklessness of her type? Regan and Goneril might have been beautiful demons of the same pattern; we have the example of the Marchioness de Brinvilliers as to what amount of spiritual deviltry can exist with the face and manner of an angel direct from heaven; and perhaps Cordelia was a tall dark-haired girl, with a pair of brown eyes, and a long nose sloping downwards.

Look at modern Jewesses, with their flashing Oriental orbs, their night-black tresses, and the dusky shadows of their olive-colored complexions; as catalogued properties according to the ideal, they would be placed in the list of the natural criminals and lawbreakers, while in reality they are about as meek and docile a set of women as are to be found within the four seas. Pit a fiery little Welsh woman or a petulant Parisienne against the most regal and Junonic amongst them, and let them try conclusions in courage, in energy, or in audacity; the Israelitish Juno will go down before either of the small Philistines, and the fallacy of weight and color in the generation of power will be shown without the possibility of denial. Even in those old days of long ago, when human characteristics were embodied and deified, we do not find that the white-armed, large-limbed Here, though queen by right of marriage, lorded it over her sister goddesses by any superior energy or force of nature. On the contrary, she was rather a heavy-going person, and, unless moved to anger by her husband's numerous infidelities, took her Olympian life placidly enough, and once or twice got cheated in a way that did no great credit to her sagacity. A little Frenchwoman would have sailed around her easily; and as it was, shrewish though she was in her speech when provoked, her husband not only deceived but chastised her, and reduced her to penitence and obedience as no little woman would have suffered herself to be reduced.

There is one celebrated race of women who were probably the powerfully-built, large-limbed creatures they are assumed to have been, and as brave and energetic as they were strong and big--the Norse women of the sagas, who, for good or evil, seem to have been a very influential element in the old Northern life. Prophetesses, physicians, dreamers of dreams and the accredited interpreters as well, endowed with magic powers, admitted to a share in the councils of men, brave in war, active in peace, these fair-haired Scandinavian women were the fit comrades of their men, the fit wives and mothers of the Berserkers and the Vikings. They had no tame or easy life of it, if all we hear of them is true. To defend the farm and the homestead during their husbands' absence, and to keep themselves intact against all bold rovers to whom the Tenth Commandment was an unknown law; to dazzle and bewilder by magic arts when they could not conquer by open strength; to unite craft and courage, deception and daring, loyalty and independence, demanded no small amount of opposing qualities. But the Steingerdas and Gudrunas were generally equal to any emergency of fate or fortune, and slashed their way through the history of their time more after the manner of men than women; supplementing their downright blows by side thrusts of craftier cleverness when they had to meet power with skill, and were fain to overthrow brutality by fraud. The Norse women were certainly as largely framed as they were mentally energetic, and as crafty as either; but we know of no other women who unite the same characteristics, and are at once cunning, strong, brave and true.

On the whole, then, the little women have the best of it. More petted than their bigger sisters, and infinitely more powerful, they have their own way in part because it really does not seem worth while to contest a point with such little creatures. There is nothing that wounds a man's self-respect in any victory they may get or claim. Where there is absolute inequality of strength, there can be no humiliation in the self-imposed defeat of the stronger; and as it is always more pleasant to have peace than war, and as big men for the most part rather like than not to put their necks under the tread of tiny feet, the little woman goes on her way triumphant to the end, breaking all the laws she does not like, and throwing down all the barriers that impede her progress, perfectly irresistible and irrepressible in all circumstances and under any condition.

PINCHBECK.

Not many years ago no really refined gentlewoman would have worn pinchbeck. False jewelry and imitation lace were touchstones with the sex, and the woman who would condescend to either was assumed, perhaps not quite without reason, to have lost something more than the mere perception of technical taste. This feeling ran through the whole of society, and pinchbeck was considered as at once despicable and disreputable. The successful speculator, sprung from nothing, who had made his fortune during the war, might buy land, build himself a mansion, and set up a magnificent establishment, but he was never looked on as more than a lucky adventurer by the aboriginal gentry of the place; and the blue blood, perhaps nourishing itself on thin beer, turned up its nose disdainfully at the claret and madeira which had been personally earned and not lineally inherited. This exclusiveness was narrow in spirit, and hard in individual working; and yet there was a wholesome sentiment underlying its pride which made it valuable in social ethics, if immoral on the score of natural equality and human charity. It was the rejection of pretentiousness, however gilded and glittering, in favor of reality, however poor and barren; it was the condemnation of make-believes--the repudiation of pinchbeck. It is not a generation since this was the normal attitude of society towards its nouveaux riches and Brummagem jewelry; but time moves fast in these later days, and national sentiments change as quickly as national fashions.

We are in the humor to rehabilitate all things, and pinchbeck has now its turn with the rest. The lady of slender means who would refuse to wear imitation lace and false jewelry is as rare as the country society which would exclude the nouveau riche because of his newness, and not adopt him because of his riches. The whole anxiety now is, not what a thing is, but how it looks--not its quality, but its appearance. Every part of social and domestic life is dedicated to the apotheosis of pinchbeck. It meets us at the hall door, where miserable make-believes of stuccoed pillars are supposed to confer a quasi-palatial dignity on a wretched little villa, run up without regard to one essential of home comfort or of architectural truth. It goes with us into the cold, conventional drawing-room, where all is for show, nothing for use, where no one lives, and which is just the mere pretence of a dwelling-room, set out to deceive the world into the belief that its cheap finery is the expression of the every-day life and circumstances of the family. It sits with us at the table, which a confectioner out of a back street has furnished, and where everything, down to the very flowers, is hired for the occasion. It glitters in the brooches and bracelets of the women, in the studs and signet-rings of the men; it is in the hired broughams, the hired waiters, the pigmy page-boys, the faded paper flowers, the cheap champagne, and the affectation of social consideration that meet us at every turn. The whole of the lower section of the middle classes is penetrated through and through with the worship of pinchbeck, and for one family that holds itself in the honor and simplicity of truth, ten thousand lie, to the world and to themselves, in frippery and pretence.

The greatest sinners in this are women. Men are often ostentatious, often extravagant, and not unfrequently dishonest in that broadway of dishonesty which is called living beyond their means--sometimes making up the deficit by practices which end in the dock of the Old Bailey; but, as a rule, they go in for the real thing in details, and their pinchbeck is at the core rather than on the surface. Women, on the contrary, give themselves up to a more general pretentiousness, and, provided they can make a show, care very little about the means; provided they can ring their metal on the counter, they ignore the want of the hall-stamp underneath. Locality, dress, their visiting-list, and domestic appearances are the four things which they demand shall be in accord with their neighbor's; and for these four surfaces they will sacrifice the whole internal fabric. They will have a showy-looking house, encrusted with base ornamentation and false grandeur, though it lets in wind, rain, and sound almost as if it were made of mud or canvas, rather than a plain and substantial dwelling-place, with comfort instead of stucco, and moderately thick walls instead of porches and pilasters. Most of their time is necessarily passed at home, but they undergo all manner of house discomfort resulting from this preference of cheap finery over solid structure, rather than forego their "genteel locality" and stereotyped ornamentation. A family of daughters on the one side, diligent over the "Battle of Prague;" a nursery full of crying babies on the other; more Battles of Prague opposite, diversified by a future Lind practicing her scales unweariedly; water-pipes bursting in the frost, walls streaming in the thaw, the lower offices reeking and green with damp, and the upper rooms too insecure for unrestricted movement--all these, and more miseries of the same kind, she willingly encounters rather than shift into a locality relatively unfashionable to her sphere, but where she could have substantiality and comfort for the same rent that she pays now for flash and pinchbeck.

In dress it is the same thing. She must look like her neighbors, no matter whether they can spend pounds to her shillings, and run up a milliner's bill beyond what she can afford for the whole family living. If they can buy gold, she can manage pinchbeck; glass that looks like jet, like filagree work, like anything else she fancies, is every bit to her as good as the real thing; and if she cannot compass Valenciennes and Mechlin, she can go to Nottingham and buy machine-made imitations that will make quite as fine a show. How poor soever she may be, she must hang herself about with ornaments made of painted wood, glass, or vulcanite; she must break out into spangles and beads and chains and benoîtons, which are cheap luxuries, and, as she thinks, effective. Flimsy silks make as rich a rustle to her ear as the stateliest brocade, and cotton-velvet delights the soul that cannot aspire to Genoa. The love of pinchbeck is so deeply ingrained in her that even if, in a momentary fit of aberration into good taste, she condescends to a simple material about which there can be neither disguise nor pretence, she must load it with that detestable cheap finery of hers till she makes herself as vulgar in a muslin as she was in a cotton velvet.

The simplex munditiis, which used to be held as a canon of feminine good taste, is now abandoned altogether, and the more she can bedizen herself according to the pattern of a Sandwich islander the more beautiful she thinks herself, the more certain the fascination of the men, and the greater the jealousy of the women. This is the cause of all the tags and streamers, the bits of ribbon here and flying ends of laces there, the puffed-out chignons, and the trailing curls cut off some dead girl's head, wherewith the modern Englishwoman delights to make herself hideous. It is pinchbeck throughout. But we fear she is past praying for in the matter of fashion, and that she is too far given over to the abomination of pretence to be called back to truth for any ethical reason whatsoever, or indeed by anything short of high examples. And then, if simplicity became the fashion, we should have our pinchbeck votaries translating that into extremes as they do now with ornamentation; if my lady took to plainness, they would go to nakedness.

Another bit of pinchbeck is the visiting-list--the cards of invitation stuck against the drawing-room glass--with the grandest names and largest fortunes put forward, irrespective of dates or tenses. The chance contact with the people represented may be quite out of the ordinary circumstances of life, but their names are paraded as if an accident, which has happened once and may never occur again, were in the daily order of events. They are brought to the front to make others believe that the whole social thickness is of the same quality; that generals and admirals and sirs and ladies are the common elements of the special circle in which the family habitually moves; that pinchbeck is good gold, and that stucco means marble. Women are exceedingly tenacious of these pasteboard appearances.

In a house with its couple of female servants, where formal visitors are very rare, and invitations, save by friendly word of mouth, rarer still, you may see a cracked china bowl or cheap mock patera on the hall table, to receive the cards which are assumed to come in the thick showers usual with high people who have hall-porters, and a thousand names or more on their books. The pile gets horribly dusty to be sure, and the upper layer turns by degrees from cream-color to brown; but antiquity is not held to weaken the force of grandeur. The titled card left on a chance occasion more than a year ago still keeps the uppermost place, still represents a perpetual renewal of aristocratic visits, and an unbroken succession of social triumphs. Yellowed and soiled, it is none the less the trump-card of the list; and while the outside world laughs and ridicules, the lady at home thinks that no one sees through this puerile pretence, and that the visiting-list is accepted according to the status of the fugleman at the head. She is very happy if she can say that the pattern of her dress, her cap, her bonnet, was taken from that of Lady So and So; and we may be quite sure that all personal contact with grand folks does so express itself, and perpetuate the memory of the event, by such imitation--at a distance. It is too good an occasion for the airing of pinchbeck to be disregarded, and, consequently, for the most part is turned to this practical account. Whether the fashion will be suited to the material, or to the other parts of the dress, is quite a secondary consideration, it being of the essence of pinchbeck to despise both fitness and harmony.

There is a large amount of pinchbeck in the appearance of social influence, much cultivated by women of a certain activity of mind, and with more definite aims than all women have. This belongs to a grade one step higher than the small pretences we have been speaking of--to women who have money, and so far have one reality, but who have not, by their own birth or their husband's, the original standing which would give them this influence as of right. Some make themselves notorious for their drawing-room patronage of artists, which, however, does not often include buying their pictures; others gather around them scores of obscure authors, whose books they talk of, if they do not read; a few, a short time since, were centres of spiritualistic circles, and got a queer kind of social influence thereby, so far as Philistine desire to witness the "manifestations" went; and one or two are names of weight in the emancipated ranks, and take chiefly to what they call "working women." These are they who attend Ladies' Committees, where they talk bosh, and pound away at utterly uninteresting subjects, as diligently as if what they said had any point in it, and what they did any ultimate issue in probability or common sense. But beyond the fact of having a large house, where their several sets may assemble at stated periods, these would-be lady patronesses are utterly impotent to help or hinder; and their patronage is just so much pinchbeck, not worth the trouble of weighing.

In all this gaudy attempt at show, this restless dissatisfaction with what they are, and ceaseless endeavour to appear something they are not, our middle-class ladies are doing themselves and society infinite mischief. They set the tone to the world below them, and the small tradespeople and the servants, when they copy the vices of their superiors, do not imitate her grace the duchess, but the doctor's wife over the way, and the lawyer's lady next door, and the young ladies everywhere, who all try to appear women of rank and fortune, and who are ashamed of nothing as much as of industry, truth and simplicity. Hence the rage for cheap finery in the kitchen, just a trifle more ugly and debased than that worn in the drawing-room; hence the miserable pretentiousness, and pinchbeck fine-ladyism, filtering like poison through every pore of our society, to result God only knows in what grave moral cataclysm, unless women of mind and education will come to the front, and endeavour to stay the plague already begun.

Chains and brooches may seem but small material causes for important moral effects, but they are symbols; and, as symbols, of deep national value. No good will be done till we get back some of our fine old horror of pinchbeck, and once more insist on truth as the foundation of our national life. Education and refinement will be of no avail if they do not land us here; and the progress of the arts and society must not be brought to mean chiefly the travesty of civilized ladies into the semblance of savages, by the cheap imitation of costly substances. Women are always rushing about the world eager after everything but their home business. Here is something for them to do--the regeneration of society by means of their own energies; the bringing people back to the dignity of truth and the beauty of simplicity; and the substitution of that self-respect which is content to appear what it is, for the feeble pride which revels in pinchbeck because it cannot get gold, and which endeavors so hard to hide its real estate, and to pass for what it is not and never could be.

PUSHING WOMEN.

The achievements of Anglo-Saxon energy present a rich mine of material to the bookmaker. We are justly proud of our self-made men--of our Chancellors who have risen from the barber's-shop to the Woolsack, of our low-born inventors who have fought their way to scientific recognition, of our merchant princes who have begun life with a capital of one half-crown. The story of the man who has raised himself to eminence by his own exertions, in the face of overwhelming disadvantages and obstacles, is a thrice-told tale, thanks to Mr. Smiles and other biographers. But our admiration has been almost exclusively drawn to these signal examples of pushing men. The analogous exploits of the fair sex remain comparatively unchronicled. No one has hitherto published a book about Self-made Women. Yet this branch of the subject would be very interesting, and even instructive. Of course the opportunity for the display of energy in pushing is, in the case of woman, much more limited. She cannot push at the Bar or in the Church, or in business. Her sphere for pushing is practically narrowed down to one department of human life--society. But within the limits of that sphere she exhibits very remarkable proofs of this peculiar form of activity. Moreover, pushing is a feature so peculiarly characteristic of the English, as distinct from the Continental salon, that no attempt to place a picture of the Englishwoman in her totality before her foreign critics would be complete without it.

There are three periods in the career of a pushing woman. The first is that in which she emerges from obscurity, or, worse perhaps, from the notoriety of commercial antecedents, and carried, by a vigorous push, the outworks of fashionable society. The wife of a successful speculator in cotton or guano, who is also the mistress of a comfortable mansion in Bloomsbury, gradually becomes restless and dissatisfied with her surroundings. It would be curious to trace the growth of this discontent. Ambition is deeply rooted in the female bosom. Even housemaids are actuated by an impulse to better themselves, and village school-mistresses yearn for a larger sphere. Perhaps it is this instinct to rise, so creditable to the sex, which compels a lady with a long purse, and a name well known in the city, to enter the lists as an aspirant to fashion. Perhaps her career is developed by a more gradual process. Climbing social Alps is like climbing material Alps--for a time the intervening heights shut out from view the grander peaks. It is not till one has topped Peckham or Hackney that a more extended horizon bursts on the eye, and one catches sight of the glittering summits of Belgravia. Account for it as we may, the phenomenon of a woman in the enjoyment of every comfort and luxury that wealth can give, but ready to barter it all for a few crumbs of contemptuous notice from persons of rank, is by no means uncommon. Probably the fashionable newspaper is a great stimulus to pushing.

The rich vulgarian pores over Court Circulars and catalogues of aristocratic names till the fascination becomes irresistible, and the desire to see her own name, purged of cotton or guano, figuring in the same sheet grows to a monomania. But how is this to be done? Fortunately for the purpose which she has in view, there exist in these latter days amphibious beings, half trader, half fop, with one set of relations with the world of commerce and another set of relations with the world of fashion. The dandy, driven into the city by the stress of his fiscal exigencies, forms a link between the East-end and the West. Among his other functions is that of giving aid and counsel, not exactly gratis, to any fair outsider who wants to "get into" society. For every applicant he has but one bit of advice. She must spend money.

For a woman who is neither clever nor beautiful nor high-born, there is but one way to proceed. She must bribe right and left. No rotten borough absorbs more cash than the fashionable world. Its recognition is merely a question of money. All its distinctions have their price. It exacts from the pushing woman a thumping entrance-fee in the shape of a sumptuous concert or ball. Nor is it only the first push which costs. Every subsequent advance is as much a matter of purchase as a step in the army.

There is a tariff of its honors, and any Belgravian actuary can calculate to a nicety the price of a stare from a great lady, or a card from a leader of fashion. This is the philosophy expounded by the amphibious dandy to his civic pupil. The upshot is, that she must give an entertainment, or a series of entertainments, on a scale of great splendor. Of course the house in Bloomsbury must be exchanged for another in a fashionable quarter. A more profuse style of living must be adopted. Her equipages must be gorgeous, her flunkeys numerous and well powdered. Above all, she must at once and for ever make a clean sweep of all her old friends. Upon these conditions, and in consideration of a douceur for himself, he agrees to be her friend, and help her to push. Then follows a delicate negotiation with one of those dowagers who rather pique themselves on their good nature in standing sponsors to pushing nobodies. She, too, makes her conditions. For the sake of the elderly pet to whom she is indebted for her daily supply of scandal, she consents to countenance his protegée. But she declines to ask her to her own house. She will dine with her, provided the dinner is exquisite, and two or three of her own cronies are included in the invitation. Last and crowning condescension, she will ask the company for the proposed concert or ball, provided the thing is done regardless of expense. It would be hard to say which a cynic would think most charming--the readiness to accept, or the inclination to impose, such conditions.

At last the great occasion arrives. Planted at the top of her staircase, under the wing of her fashionable allies, the nominal giver of the entertainment is duly stared at and glared at by a supercilious crowd, who examine her with the same sort of languid interest which they devote to a new animal at the Zoological. The greater number are "going on" to another party. But the next morning brings balm for every mortification. Her ball is blazoned in the fashionable journals, and the well-bred reporter, while elaborately complimentary to the exotics, is discreetly silent as to the supercilious stares. She does not exactly awake to find herself famous, but at least she is no longer outside the Pale. At a considerable outlay, she has got into what a connoisseur in shades of fashion would call tenth-rate society. This is not much; still, it is a beginning, and a beginning is everything to a pushing woman.

In the pushing woman of the transition period we behold a lady who has got a certain footing in society, but who is straining every nerve, in season and out of season, by hook and by crook, to improve her position. Society within the Pale is divided into a great many "zones" or "sets." It is like a target, with outer, middle, inner, and innermost circles. The exterior circle, corresponding to "the black" in archery, consists of persona, for the most part, with limited means and moderate ambition. People who try to combine fashion with economy stick here, and advance no further. Carpet-dances and champagneless suppers are typical of this circle. Here mothers and daughters prey upon the inexperienced youth of the Universities and green young officers, who are deluded for one season by their pretensions to fashion, but who cut them the next. Here, too, may be found persons whose social progress has been retarded by foolish scruples about cutting their old friends. Between this band of prowlers upon the outskirts of fashion and "the best set"--the golden ring in the centre of the shield--are many intermediate circles, each representing a different stage of distinction and exclusiveness. It is the multiplicity of these invisible lines of demarcation which makes pushing so laborious.

The world of fashion is not one homogeneous camp, but it is parcelled out into a number of cliques and coteries. Into one after another of these a pushing woman effects her entrance. She is always edging her way into a new and better set. At every step there are obstacles to be encountered, rivals to be jostled, fierce snubs to be endured. There is something almost sublime in the spectacle of this untiring activity of shoulder and elbow. The mere shoving--vis consilî expers--would never bring her near to her goal. An adept in the art of pushing does not rely on sheer impudence alone. She has recourse to artificial aids and appliances. A great deal of ingenuity is exhibited in the selection of her self-propelling machinery. It is a good plan to acquire a name for some one social speciality.

Private theatricals, for instance, or similar entertainments, may be turned to excellent account. Exhibitions of this kind pique curiosity, and people who come to stare remain to supper, and possibly return to drop a card on the following afternoon. But, if you go in for this sort of thing, you must resign yourself to certain inconveniences. Your pretty drawing-room will be like Park Lane in a state of chronic obstruction. The carpenter's work will interfere somewhat with your comfort, and it is tiresome to be perpetually unhinging your doors and pulling your windows out of their frames. The jealousies and bickerings among the performers are another source of vexation. Miss A. declines to sit as Rowena to Miss B.'s Rebecca; and the drawing-room Roscius invariably objects to the part for which he is cast. Altogether, unless you have a positive taste for carpentry and green-room squabbles, it is better to steer clear of private theatricals.

Then there is the musical dodge. In skillful hands there is no better leverage for pushing operations than drawing-room music. Every one knows Lady Tweedledum and her amateur concerts. The fuss she makes about them is prodigious. They are a cheap sort of entertainment, but they cost the thrifty patroness of art a vast deal of trouble. She is always organizing practices, arranging rehearsals, drawing up programmes, or scouring London for musical recruits. She has been known to invade dingy Government offices for a tenor, and to run a soprano to earth in distant Bloomsbury. After all, her "music" is only so-so. You may hear better any night at Even's or the Oxford. One has heard "Dal tuo stellato soglio" before, and Niedermeyer insipidities are a little fadé. Sometimes, to complete the imposture, the names of Mendelssohn and Mozart are invoked, and, under cover of doing honor to an immortal composer, a chorus of young people assemble for periodical flirtation. On the whole, it is wise not to attempt too much. Miss Quaver, with her staccato notes and semi-professional minauderies, is not exactly a queen of song. Nor does it give one any exquisite delight to hear Sir Raucisonous Trombone give tongue in a French romance. The talented band of the Piccadilly Troubadours, floundering through the overture to Zampa, hardly satisfies a refined musical ear. But, however indifferent in a musical point of view, from the point of view of the fair projector the thing is a success. It serves as a trap to catch duchesses, a device for putting salt on the tails of the popinjays of fashion. One fine day Lady Tweedledum's pretended zeal for music receives its crowning reward. The noise of it reaches august ears. An act of gracious condescension follows. Her Ladyship has the supreme delight of leading a scion of Royalty to a chair of state in her drawing-room, to hear Sir Raucisonous bleat and Miss Quaver trill.

There are subtler means of pushing than amateur concerts and private theatricals. There is the push vertical, as in the case of the commercial lady; and there is also the push lateral. A good example of the latter style of operation is afforded by the dowager who is fortunate enough to have an eldest son to use as a pushing machine. Handled with tact, a young heir, not yet cut adrift from the maternal apron-string, may be turned to excellent account. There is, or was, a sentimental ballad entitled, "I'll kiss him for his mother." One might reverse the sentiment in the case of Madame Mère. Of her the dowagers with daughters to marry sing in chorus, "I'll visit her for her son." Civility to the mother is access to the son. A sharp tactician sees her advantage, and works the precious relationship for her own private ends. It is a mine of invitations of an eligible kind. By aid of it she springs over barriers which it would otherwise take her years to surmount, and is lifted into circles which by their unassisted efforts she and her daughters would never reach. Scheming dowagers are glad to have her at their balls when there is a chance of young Hopeful following in her train, and her five o'clock tea is delightful when there is a young millionaire to sip it with. Deprived of her decoy duck she would soon lose ground, and be left to push her way in society with uncomfortably reduced momentum.

Another capital instrument for pushing is a country-house. The mistress of a fine old hall and a cypher of a husband is apt to take a peculiar view of the duties of property. One might expect her to be content with so dignified and enviable a lot, and to pass tranquil days in coddling the cottagers, patronizing the rector's wife, and impressing her crotchet on the national school. But no--she is bitten with the tarantula of social success. She wants to "get on" in society. She must push as vigorously as any trumpery adventuress in May Fair. A good old name is dragged into the dirt inseparable from pushing. The family portraits look disdainfully from their frames, and the ancestral oaks hang their heads in shame. The company reflects the peculiar ambition of the hostess. The neighboring squires are conspicuous by their absence. The local small fry are of course ignored, though to the great lady of the county, who cuts her in town, she is cringingly obsequious. The visitors consist mainly of relays of youths, fast, foolish, and fashionable, with now and then a stray politician or journalist thrown in to give the party a soupçon of intellect. The principle of invitation is very simple. No one is asked who will not be of use in town. Any brainless little fop, any effete dandy, is sure of a welcome, provided he is known to certain circles and can help her to scramble into a little more vogue.