This disdain of sentimental weakness, even in those higher reaches where it is mellowed by aesthetic sensibility, is well revealed by the fact that women are seldom bemused by mere beauty in men. Save on the stage, the handsome fellow has no appreciable advantage in amour over his more Gothic brother. In real life, indeed, he is viewed with the utmost suspicion by all women save the most stupid. In him the vanity native to his sex is seen to mount to a degree that is positively intolerable. It not only irritates by its very nature; it also throws about him a sort of unnatural armour, and so makes him resistant to the ordinary approaches. For this reason, the matrimonial enterprises of the more reflective and analytical sort of women are almost always directed to men whose lack of pulchritude makes them easier to bring down, and, what is more important still, easier to hold down. The weight of opinion among women is decidedly against the woman who falls in love with an Apollo. She is regarded, at best, as flighty creature, and at worst, as one pushing bad taste to the verge of indecency. Such weaknesses are resigned to women approaching senility, and to the more ignoble variety of women labourers. A shop girl, perhaps, may plausibly fall in love with a moving-picture actor, and a half-idiotic old widow may succumb to a youth with shoulders like the Parthenon, but no woman of poise and self-respect, even supposing her to be transiently flustered by a lovely buck, would yield to that madness for an instant, or confess it to her dearest friend. Women know how little such purely superficial values are worth. The voice of their order, the first taboo of their freemasonry, is firmly against making a sentimental debauch of the serious business of marriage.