of the articles included in the present collection. I confess that, whether for praise or blame, I am glad to be able at last to assume the full responsibility of my own work.
In re-reading these papers I am more than ever convinced that I have struck the right chord of condemnation, and advocated the best virtues and most valuable characteristics of women. I neither soften nor retract a line of what I have said. One of the modern phases of womanhood—hard, unloving, mercenary, ambitious, without domestic faculty and devoid of healthy natural instincts—is still to me a pitiable mistake and a grave national disaster. And I think now, as I thought when I wrote these papers, that a public and professional life for women is incompatible with the discharge of their highest duties or the cultivation of their noblest qualities. I think now, as I thought then, that the sphere of human action is determined by the fact of sex, and that there does exist both natural limitation and natural direction. This creed, which summarizes all that I have said in extenso, I repeat with emphasis, and maintain with the conviction of long years of experience.
E. Lynn Linton.
1883.
THE GIRL OF THE PERIOD.
Time was when the phrase, 'a fair young English girl,' meant the ideal of womanhood; to us, at least, of home birth and breeding. It meant a creature generous, capable, modest; something franker than a Frenchwoman, more to be trusted than an Italian, as brave as an American but more refined, as domestic as a German and more graceful. It meant a girl who could be trusted alone if need be, because of the innate purity and dignity of her nature, but who was neither bold in bearing nor masculine in mind; a girl who, when she married, would be her husband's friend and companion, but never his rival; one who would consider his interests as identical with her own, and not hold him as just so much fair game for spoil; who would make his house his true home and place of rest, not a mere passage-place for vanity and ostentation to pass through; a tender mother, an industrious housekeeper, a judicious mistress.
We prided ourselves as a nation on our women. We thought we had the pick of creation in this fair young English girl of ours, and envied no other men their own. We admired the languid grace and subtle fire of the South; the docility and childlike affectionateness of the East seemed to us sweet and simple and restful; the vivacious sparkle of the trim and sprightly Parisienne was a pleasant little excitement when we met with it in its own domain; but our allegiance never wandered from our brown-haired girls at home, and our hearts were less vagrant than our fancies. This was in the old time, and when English girls were content to be what God and nature had made them. Of late years we have changed the pattern, and have given to the world a race of women as utterly unlike the old insular ideal as if we had created another nation altogether. The Girl of the Period, and the fair young English girl of the past, have nothing in common save ancestry and their mother-tongue; and even of this last the modern version makes almost a new language, through the copious additions it has received from the current slang of the day.
The Girl of the Period is a creature who dyes her hair and paints her face, as the first articles of her personal religion—a creature whose sole idea of life is fun; whose sole aim is unbounded luxury; and whose dress is the chief object of such thought and intellect as she possesses. Her main endeavour is to outvie her neighbours in the extravagance of fashion. No matter if, in the time of crinolines, she sacrifices decency; in the time of trains, cleanliness; in the time of tied-back skirts, modesty; no matter either, if she makes herself a nuisance and an inconvenience to every one she meets;—the Girl of the Period has done away with such moral muffishness as consideration for others, or regard for counsel and rebuke. It was all very well in old-fashioned times, when fathers and mothers had some authority and were treated with respect, to be tutored and made to obey, but she is far too fast and flourishing to be stopped in mid-career by these slow old morals; and as she lives to please herself, she does not care if she displeases every one else.
Nothing is too extraordinary and nothing too exaggerated for her vitiated taste; and things which in themselves would be useful reforms if let alone become monstrosities worse than those which they have displaced so soon as she begins to manipulate and improve. If a sensible fashion lifts the gown out of the mud, she raises hers midway to her knee. If the absurd structure of wire and buckram, once called a bonnet, is modified to something that shall protect the wearer's face without putting out the eyes of her companion, she cuts hers down to four straws and a rosebud, or a tag of lace and a bunch of glass beads. If there is a reaction against an excess of Rowland's Macassar, and hair shiny and sticky with grease is thought less nice than if left clean and healthily crisp, she dries and frizzes and sticks hers out on end like certain savages in Africa, or lets it wander down her back like Madge Wildfire's, and thinks herself all the more beautiful the nearer she approaches in look to a negress or a maniac.
With purity of taste she has lost also that far more precious purity and delicacy of perception which sometimes mean more than appears on the surface. What the demi-monde does in its frantic efforts to excite attention, she also does in imitation. If some fashionable dévergondée en évidence is reported to have come out with her dress below her shoulder-blades, and a gold strap for all the sleeve thought necessary, the Girl of the Period follows suit next day; and then she wonders that men sometimes mistake her for her prototype, or that mothers of girls not quite so far gone as herself refuse her as a companion for their daughters. She has blunted the fine edges of feeling so much that she cannot understand why she should be condemned for an imitation of form which does not include imitation of fact. She cannot be made to see that modesty of appearance and virtue in deed ought to be inseparable; and that no good girl can afford to appear bad, under pain of receiving the contempt awarded to the bad.
This imitation of the demi-monde in dress leads to something in manner and feeling, not quite so pronounced perhaps, but far too like to be honourable to herself or satisfactory to her friends. It leads to slang, bold talk and general fastness; to the love of pleasure and indifference to duty; to the desire of money before either love or happiness; to uselessness at home, dissatisfaction with the monotony of ordinary life, horror of all useful work; in a word, to the worst forms of luxury and selfishness—to the most fatal effects arising from want of high principle and absence of tender feeling.
The Girl of the Period envies the queens of the demi-monde far more than she abhors them. She sees them gorgeously attired and sumptuously appointed, and she knows them to be flattered, fêted, and courted with a certain disdainful admiration of which she catches only the admiration while she ignores the disdain. They have all that for which her soul is hungering; and she never stops to reflect at what a price they have bought their gains, and what fearful moral penalties they pay for their sensuous pleasures. She sees only the coarse gilding on the base token, and shuts her eyes to the hideous figure in the midst and the foul legend written round the edge. It is this envy of the pleasures, and indifference to the sins, of these women of the demi-monde which is doing such infinite mischief to the modern girl. They brush too closely by each other, if not in actual deeds, yet in aims and feelings; for the luxury which is bought by vice with the one is that thing of all in life most passionately desired by the other, though she is not yet prepared to pay quite the same price. Unfortunately, she has already paid too much—all that once gave her distinctive national character.
No one can say of the modern English girl that she is tender, loving, retiring or domestic. The old fault so often found by keen-sighted Frenchwomen, that she was so fatally romanesque, so prone to sacrifice appearances and social advantages for love, will never be set against the Girl of the Period. Love indeed is the last thing she thinks of, and the least of the dangers besetting her. Love in a cottage—that seductive dream which used to vex the heart and disturb the calculations of the prudent mother—is now a myth of past ages. The legal barter of herself for so much money, representing so much dash, so much luxury and
