In great cities, during the season of balls and parties, a girl’s life is one unbroken round of dissipation two‐thirds of the day, and recuperation for coming “pleasure” during the remaining third. At the end of four or five months of this life, vitality is half extinct, the cheeks are pale, the mouth drawn, the eyes violet‐circled; and against all this what prize is there to set? A bubble burst, a shadow vanished! These continual festivities, beginning late, ending in the early dawn, when the poor are just waking to their toil, and servants of God are rising to praise him—these repeated gatherings called “society” entirely upset the routine of domestic life. Instead of the blithe, healthy face sparkling at the head of the breakfast‐table, there is a jaded, weary countenance, pale with a floury paleness, or flushed by late and disturbed slumbers; instead of the brisk tread and ringing voice that cheer the home, there is the listless step of the worn‐out dancer, the peevish tone that tells plainly of bodily fatigue. In the evening there is no time for a cosy gathering round the hearth, a quiet game or chat, the reading aloud of some interesting book, or the simple delights of old‐fashioned national airs. The dressing‐room absorbs all that time—the choice of flowers or jewels takes long; the last finishing touches to the toilet must not be given in a hurry. _The_ event of the day is about to begin; and so it will be to‐ morrow and the day after, and for an interminable tread‐mill of days. If there is innate talent, there is no time to develop it; or, if it is cultivated at all, that, too, is distorted into a mere social “accomplishment,” the sole object of which is to add to the value of the possessor in the social market. The champion piece of embroidery is framed and pointed out as the work of the daughter of the house; the solitary basket of wax flowers is displayed in a conspicuous manner on an elaborate _étagère_; the water‐colors are studiously hung in the best‐lighted part of the drawing‐room; the overture of _William Tell_ is invariably called for on the slightest provocation, and played off indiscriminately before the least appreciative as well as the most artistic of the family’s visiting list. And, by the way, what more egregious sham can there be than the conventional interest in music so universally professed? It is a matter of course to exclaim, “Oh! I dote on music”; and, on the basis of this broad assertion, what ludicrous exemplifications one is condemned to listen to! One will add, “Oh! yes, and I do so love Strauss’ valses”; another will tell you there is no music like the bagpipes, and no dance like an Irish jig or an old‐time Virginia reel. One gushing young lady will call the “Maud Valse” and the “Guards’ Polka” “perfectly divine,” while her sentimental friend will murmur that “Home, Sweet Home” is her favorite. With many people, a collection of ballads is identical with the