"On the contrary, the folly, the vanity, the meanness, the heartlessness, the vulgarity, have only been condensed and concentrated, if we are to believe Mr. Pulitzer; and I don't see why we should doubt him. Did you say you hadn't seen his very shapely little study? It takes, with all the unpitying sincerity of a kodak, the likeness of our best society in its three most characteristic aspects; full-face at dinner, three-quarters-face at the opera, and profile at a ball, where proud beauty hides its face on the shoulder of haughty commercial or financial youth, and moneyed age dips its nose in whatever symbolizes the Gascon wine in the paternal library. Mr. Pulitzer makes no attempt at dramatizing his persons. There is no ambitious Mrs. Potiphar with a longing for fashionable New York worlds to conquer, yet with a secret heartache for the love of her country girlhood; no good, kind, sordid Potiphar bewildered and bedevilled by the surroundings she creates for him; no soft Rev. Cream Cheese, tenderly respectful of Mammon while ritually serving God; no factitious Ottoman of a Kurz Pasha, laughingly yet sadly observant of us playing at the forms of European society. Those devices of the satirist belonged to the sentimentalist mood of the Thackerayan epoch. But it is astonishing how exactly history repeats itself in the facts of the ball in 1910 from the ball of 1852. The motives, the _personnel_, almost the _materiel_, the incidents, are the same. I should think it would amuse Mr. Pulitzer, imitating nature from his actual observation, to find how essentially his study is the same with that of Curtis imitating nature fifty-seven years ago. There is more of nature in bulk, not in variety, to be imitated now, but as Mr. Pulitzer studies it in the glass of fashion, her mean, foolish, selfish face is the same. He would find in the sketches of the Mid-Victorian satirist all sorts of tender relentings and generous hopes concerning the 'gay' New York of that time which the Early Edwardian satirist cannot indulge concerning the gay New York of this time. It seems as if we had really gone from bad to worse, not qualitatively--we couldn't--but quantitatively. There is more money, there are more men, more women, but otherwise our proud world is the proud world of 1853."