a guy a woman would look without a hoop! I suppose they do take them off at certain times, but then they are not visible to the naked eye.
Tomes. Yes, Grey,—why take off her hoop? I don't care, you know, to have hoops worn. But worn or not worn, what difference does it make?
Grey. All against me?—a fair representation of the general feeling on the momentous subject at this moment, I suppose. But ten years ago,—that's about a year after I first saw you, and a year before we were married, you remember, Nelly,—no lady wore a hoop; and had I said then that you looked like a fright, or, as Mr. Key phrases it, a guy, I should have belied my own opinion, and, I believe, given you no little pain.
Mrs. Grey. Master Presumption, I'm responsible for none of your conceited notions; and if I were, it wasn't the fashion then to wear hoops,—and to be out of the fashion is to be a fright and a guy.
Miss Larches. Yes, the fashion is always pretty.
Grey. Is it, Miss Larches? Then it must always have been pretty. Let us see. Look you all here. In this small portfolio is a collection of prints which exhibits the fashions of France, Italy, and England, in more or less detail, for eight hundred years back.
Miss Larches. Is there? Oh, that's charming! Do let us see them!
Grey. With pleasure. But remember that I expect you to admire them all,—although I tell you that not one in ten of them is endurable, not one in fifty pretty, not one in a hundred beautiful.
Miss Larches. Why, there aren't more than two or three hundred.
Grey. About two hundred and fifty; and if you find more than two that fulfil all the conditions of beauty in costume, you will be more fortunate than I have been.
Miss Larches [after a brief Inspection]. Ah, Mr. Grey, how can you? Most of these are caricatures.
Grey. Nothing of the sort. All veritable costumes, I assure you. Those from 1750 down, fashion-plates; the others, portraits.
Mrs. Grey. True, Laura. I've looked at them many a time, and thought how fearfully and wonderfully dresses have been made. Not to go back to those bristling horrors of the Middle Ages and the renaissance, look at this ball-dress of 1810: a night-gown without sleeves, made of two breadths of pink silk, very low in the neck, and very short in the skirt.
Tomes. And these were our modest grandmothers, of whom we hear so much! They went rather far in their search after the beautiful.
Grey. Say, rather, in their revelation of it. That was, at least, an honest fashion, and men who married could not well complain that they had been deceived by concealment. But that tells nothing against the modesty of our grandmothers. What is modest in dress depends entirely on what is customary; and there is an immodesty that hides, as well as one that exposes. Unconsciousness is modesty's triple shelter against shame. See here, the dissolute Marguerite of Navarre, visible only at head and hands; the former from the chin upwards, the latter from the knuckles downwards; and here, La belle Hamilton, rightly named, as chaste as beautiful, and so modest in her carriage that she escaped the breath of scandal even in the court of Charles II., and yet with a gown (if gown it can be called) so loose about the bust and arms that the pink night-gown would blush crimson at it.
Tomes. The ladies seem convinced, though puzzled; but that is because they don't detect your fallacy. You confound the woman and the fashion. An immodest woman may be modestly dressed; and if it is the fashion to be so, she most certainly will, unless she is able herself to set a fashion more suited to her taste. For usually a woman's care of her costume is in inverse proportion to that she takes of her character.
The Ladies [having a vague notion that "inverse proportion" means something horrible']. Mr. Tomes!
Grey. Don't misapprehend my friend Daniel. On this occasion he has come to judgment upon a subject of which he knows so little that it is worse than nothing. I have reason to believe that he has a profound respect for one of you, and, being a bachelor, such exalted notions of your sex in general that he would not wantonly misjudge the humblest individual of it. His remark was but the fruit of such sheer innocence with regard to your charming sisterhood, that he has yet to learn that there is not a single member of it, who confesses to less than seventy years, to whom, even if she is black, deformed, and the meanest hireling household drudge, her dress, when she is to be seen of men, is not the object of a watchful solicitude at least next to that which she feels for her reputation. Among the sharpest of Douglas Jerrold's unmalicious witticisms was his saying, that Eve ate the apple that she might dress.
Mrs. Grey. Eve's daughters—two of them, at least—are inexpressibly obliged to you for your defence of the sex against the valorous Tomes. Another time, pray, leave us to our fate. But, Laura, do look here! See these hideous peaked and horned head-dresses of the fifteenth century. That one looks like an Old-Dominion coffee-pot with wings. How frightful! how uncomfortable! how inconvenient! How could the women wear such things?
Miss Larches. Perfectly ridiculous! How could they get into their carriages with those steeples on their heads? and how they must have been in the way at the opera!
Grey. Miss Larches forgets. These head-dresses, monstrous as they are, are not exposed to the objection of being inconsistent with the habits of life of those who wore them, as so many of the fashions of later periods and of the present day are. There were no such vehicles as she is thinking of until more than a century after these stupendous head-dresses were worn, until which time ladies very rarely used even a covered wagon as a means of locomotion; and these steeple-crowned ladies, and many generations after them, had passed away before the performance of the first opera.
Miss Larches. No carriages? Why, how did they go to parties? No opera? What did they do on winter evenings when there were no parties?
Grey. They went to parties in the day-time on horseback; and on the days when there were no parties, of which there were a great many then, they gave themselves up to a very delightful mode of passing the time, when it is intelligently practised, known as staying at home.
Mr. Key. What a bore!
Grey. But don't confine your criticism of head-dresses to the fifteenth century. Look through the costumes of the three succeeding centuries, and see how often invention was taxed for artificial decorations of the head, equally elaborate and hideous. Anything but to have a head look like a head! anything but to have hair look like hair! See this lady of 1750, her hair drawn violently back from her forehead and piled up on a cushion nine inches high. She is plainly one of those lovely, warm-toned blondes whose hair is of that priceless red that makes all other tints look poor and sad; and so she defiles its exquisite texture with grease, and blanches out its wealth of color with flour. She might have gathered its gleaming waves into a ravishing knot behind her head; but no, she has four stiff, enormous curls, noisome with a mingled smell of hot iron, musk, and ambergris, hanging like rolls of parchment from the top of her cushion to below her ear. O' top of this elevation is mounted a wreath of gaudy artificial flowers, in its turn surmounted by four vast plumes, two yellow, one pink, one blue, from the midst of which shoot up two long feathers, one green and one red, while behind hangs down a greasy, floury mass gathered at the end into a club-like handle, which has some fitness for its place, in suggesting that it should be used to jerk the heap of hair, grease, and feathers from the head of the unfortunate who sustains it. Just think of it! that sweet creature must have given up at least two hours of every day to this disfigurement of her pretty head.
Tomes. And I've no doubt she made a sensation in the ball-room or at court, in spite of all your ridicule, and so attained her purpose.
Grey.
