The Girl of the Period, and Other Social Essays, Vol. 1 (of 2)Linton, E. Lynn (Elizabeth Lynn)
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The Girl of the Period, and Other Social Essays, Vol. 1 (of 2)
Linton, E. Lynn (Elizabeth Lynn)
Girls; Women
A charming woman is woman all over--one who places her glory in being
a woman and has no desire to be anything else. She is a woman rather
than a human being, and a lady rather than a woman. One of her
characteristics is the exquisite grace of her manner which so sweetly
represents the tender nature within. She has not an angle anywhere. If
she were to be expressed geometrically, Hogarth's Line of Beauty
is the sole figure that could be used for her. She is flowing,
graceful, bending in mind as in body; she is neither self-asserting
nor aggressive, neither rigid nor narrow; she is a creature who glides
gracefully through life, and adjusts herself to her company and her
circumstances in a manner little less than marvellous; working her own
way without tumult or sharpness; creeping round the obstacles she
cannot overthrow, and quietly wearing down more friable opposition
with that gentle persistency which does so much more than turmoil and
disturbance.
Even if enthusiastic--which she is for art, either as music, as
painting, or yet as poetry--she is enthusiastic in such a sweet and
graceful way that no one can be offended by a fire which shines and
does not burn. There is no touch of scorn about her and no assumption
of superior knowledge. She speaks to you, poor ignorant Philistine,
with the most flattering conviction that you follow her in all her
flights; and when she comes out, quite naturally, with her pretty
little bits of recondite lore or professional technicalities, you
cannot be so boorish as to ask for an explanation of these trite
matters which she makes so sure you must understand. Are you not an
educated person with a soul to be saved? can you then be ignorant of
things with which every one of culture is familiar? She discourses
confidentially of musicians and painters unknown to fame, and speaks
as if she knew the secret doings of the Conservatoire and the R. A.
council-chamber alike. The models and the methods, the loves and
the hates, of the artistic world are to her things of every-day life,
and you cannot tell her that she is shooting her delicate shafts wide
of the mark, and that you know no more of what she means than if she
were talking in the choicest Arabic.
Public-domain text, read in full here on John Shaqi.
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