Or fast—or slow—it ceases turning; Ceases the flow, or bright or burning— "What have you done with the hours?" the Voice demands. What can I say of eager or careless hands?— I had forgotten the hours in watching the sliding sands.



A MIDDLE-SIZED ARTIST

When Rosamond's brown eyes seemed almost too big for her brilliant little face, and her brown curls danced on her shoulders, she had a passionate enthusiasm for picture books. She loved "the reading," but when the picture made what her young mind was trying to grasp suddenly real before her, the stimulus reaching the brain from two directions at once, she used to laugh with delight and hug the book.

The vague new words describing things she never saw suggested "castle," a thing of gloom and beauty; and then upon the page came The Castle itself, looming dim and huge before her, with drooping heavy banners against the sunset calm.

How she had regretted it, scarce knowing why, when the pictures were less real than the description; when the princess, whose beauty made her the Rose of the World (her name was Rosamond, too!), appeared in visible form no prettier, no, not as pretty, as The Fair One with The Golden Locks in the other book! And what an outcry she made to her indifferent family when first confronted by the unbelievable blasphemy of an illustration that differed from the text!

"But, Mother—see!" she cried. "It says, 'Her beauty was crowned by rich braids of golden hair, wound thrice around her shapely head,' and this girl has black hair—in curls! Did the man forget what he just said?"

Her mother didn't seem to care at all. "They often get them wrong," she said. "Perhaps it was an old plate. Run away, dear, Mama is very busy."

But Rosamond cared.

She asked her father more particularly about this mysterious "old plate," and he, being a publisher, was able to give her much information thereanent. She learned that these wonderful reinforcements of her adored stories did not emanate direct from the brain of the beneficent author, but were a supplementary product by some draughtsman, who cared far less for what was in the author's mind than for what was in his own; who was sometimes lazy, sometimes arrogant, sometimes incompetent; sometimes all three. That to find a real artist, who could make pictures and was willing to make them like the picture the author saw, was very unusual.

"You see, little girl," said Papa, "the big artists are too big to do it—they'd rather make their own pictures; and the little artists are too little—they can't make real ones of their own ideas, nor yet of another's."

"Aren't there any middle-sized artists?" asked the child.

"Sometimes," said her father; and then he showed her some of the perfect illustrations which leave nothing to be desired, as the familiar ones by Teniel and Henry Holiday, which make Alice's Adventures and the Hunting of the Snark so doubly dear, Dore and Retsch and Tony Johannot and others.

"When I grow up," said Rosamond decidedly, "I'm going to be a middle-sized artist!"

Fortunately for her aspirations the line of study required was in no way different at first from that of general education. Her parents explained that a good illustrator ought to know pretty much everything. So she obediently went through school and college, and when the time came for real work at her drawing there was no objection to that.

"It is pretty work," said her mother, "a beautiful accomplishment. It will always be a resource for her."

"A girl is better off to have an interest," said her father, "and not marry the first fool that asks her. When she does fall in love this won't stand in the way; it never does; with a woman. Besides—she may need it sometime."

So her father helped and her mother did not hinder, and when the brown eyes were less disproportionate and the brown curls wreathed high upon her small fine head, she found herself at twenty-one more determined to be a middle-sized artist than she was at ten.

Then love came; in the person of one of her father's readers; a strenuous new-fledged college graduate; big, handsome, domineering, opinionative; who was accepting a salary of four dollars a week for the privilege of working in a publishing house, because he loved books and meant to write them some day.

They saw a good deal of each other, and were pleasantly congenial. She sympathized with his criticisms of modem fiction; he sympathized with her criticisms of modern illustration; and her young imagination began to stir with sweet memories of poetry and romance; and sweet hopes of beautiful reality.

There are cases where the longest way round is the shortest way home; but Mr. Allen G. Goddard chose differently. He had read much about women and about love, beginning with a full foundation from the ancients; but lacked an understanding of the modern woman, such as he had to deal with.

Therefore, finding her evidently favorable, his theories and inclinations suiting, he made hot love to her, breathing, "My Wife!" into her ear before she had scarce dared to think "my darling!" and suddenly wrapping her in his arms with hot kisses, while she was still musing on "The Hugenot Lovers" and the kisses she dared dream of came in slow gradation as in the Sonnets From the Portuguese.

He was in desperate earnest. "O you are so beautiful!" he cried. "So unbelievably beautiful! Come to me, my Sweet!" for she had sprung away and stood panting and looking at him, half reproachful, half angry.

"You love me, Dearest! You cannot deny it!" he cried. "And I love you—Ah! You shall know!"

He was single-hearted, sincere; stirred by a very genuine overwhelming emotion. She on the contrary was moved by many emotions at once;—a pleasure she was half ashamed of; a disappointment she could not clearly define; as if some one had told her the whole plot of a promising new novel; a sense of fear of the new hopes she had been holding, and of startled loyalty to her long-held purposes.

"Stop!" she said—for he evidently mistook her agitation, and thought her silence was consent. "I suppose I do—love you—a little; but you've no right to kiss me like that!"

His eyes shone. "You Darling! My Darling!" he said. "You will give me the right, won't you? Now, Dearest—see! I am waiting!" And he held out his arms to her.

But Rosamond was more and more displeased. "You will have to wait. I'm sorry; but I'm not ready to be engaged, yet! You know my plans. Why I'm going to Paris this year! I'm going to work! It will be ever so long before I'm ready to—to settle down."

"As to that," he said more calmly, "I cannot of course offer immediate marriage, but we can wait for that—together! You surely will not leave me—if you love me!"

"I think I love you," she said conscientiously, "at least I did think so. You've upset it all, somehow—you hurry me so!—no—I can't bind myself yet."

"Do you tell me to wait for you?" he asked; his deep voice still strong to touch her heart. "How long, Dearest?"

"I'm not asking you to wait for me—I don't want to promise anything—nor to have you. But when I have made a place—am really doing something—perhaps then—"

He laughed harshly. "Do not deceive yourself, child, nor me! If you loved me there would be none of this poor wish for freedom—for a career. You don't love me—that's all!"

He waited for her to deny this. She said nothing. He did not know how hard it was for her to keep from crying—and from running to his arms.

"Very well," said he. "Goodby!"—And he was gone.

All that happened three years ago.

Allen Goddard took it very hard; and added to his earlier ideas about women another, that "the new woman" was a selfish heartless creature, indifferent to her own true nature.

He had to stay where he was and work, owing to the pressure of circumstances, which made it harder; so he became something of a mysogynyst; which is not a bad thing when a young man has to live on very little and build a place for himself.

In spite of this cynicism he could not remove from his mind those softly brilliant dark eyes; the earnest thoughtful lines of the pure young face; and the changing lights and shadows in that silky hair. Also, in the course of his work, he was continually reminded of her; for her characteristic drawings appeared more and frequently in the magazines, and grew better, stronger, more convincing from year to year.

Stories of adventure she illustrated admirably; children's stories to perfection; fairy stories—she was the delight of thousands of children, who never once thought that the tiny quaint rose in a circle that was to be found in all those charming pictures meant a name. But he noticed that she never illustrated love stories; and smiled bitterly, to himself.

And Rosamond?

There were moments when she was inclined to forfeit her passage money and throw herself unreservedly into those strong arms which had held her so tightly for a little while. But a bud picked open does not bloom naturally; and her tumultuous feelings were thoroughly dissipated by a long strong attack of mal de mer. She derived two advantages from her experience: one a period of safe indifference to all advances from eager fellow students and more cautious older admirers; the other a facility she had not before aspired to in the making of pictures of love and lovers.

She made pictures of him from memory—so good, so moving, that she put them religiously away in a portfolio by themselves; and only took them out—sometimes. She illustrated, solely for her own enjoyment some of her girlhood's best loved poems and stories. "The Rhyme of the Duchess May," "The Letter L," "In a Balcony," "In a Gondola." And hid them from herself even—they rather frightened her.

After three years of work abroad she came home with an established reputation, plenty of orders, and an interest that would not be stifled in the present state of mind of Mr. Allen Goddard.

She found him still at work, promoted to fifteen dollars a week by this time, and adding to his income by writing political and statistical articles for the magazines. He talked, when they met, of this work, with little enthusiasm, and asked her politely about hers.

"Anybody can see mine!" she told him lightly. "And judge it easily."

"Mine too," he answered. "It to-day is—and to-morrow is cast into the waste-basket. He who runs may read—if he runs fast enough."

He told himself he was glad he was not bound to this hard, bright creature, so unnaturally self-sufficient, and successful.

She told herself that he had never cared for her, really, that was evident.

Then an English publisher who liked her work sent her a new novel by a new writer, "A. Gage." "I know this is out of your usual line," he said, "but I want a woman to do it, and I want you to be the woman, if possible. Read it and see what you think. Any terms you like."

The novel was called "Two and One;" and she began it with languid interest, because she liked that publisher and wished to give full reasons for refusing. It opened with two young people who were much in love with one another; the girl a talented young sculptor with a vivid desire for fame; and another girl, a cousin of the man, ordinary enough, but pretty and sweet, and with no desires save those of romance and domesticity. The first couple broke off a happy engagement because she insisted on studying in Paris, and her lover, who could neither go with her, nor immediately marry her, naturally objected.

Rosamond sat up in bed; pulled a shawl round her, swung the electric light nearer, and went on.

The man was broken-hearted; he suffered tortures of loneliness, disappointment, doubt, self-depreciation. He waited, held at his work by a dependent widowed mother; hoping against hope that his lost one would come back. The girl meanwhile made good in her art work; she was not a great sculptor but a popular portraitist and maker of little genre groups. She had other offers, but refused them, being hardened in her ambitions, and, possibly, still withheld by her early love.

The man after two or three years of empty misery and hard grinding work, falls desperately ill; the pretty cousin helps the mother nurse him, and shows her own affection. He offers the broken remnants of his heart, which she eagerly undertakes to patch up; and they become tolerably happy, at least she is.

But the young sculptor in Paris! Rosamond hurried through the pages to the last chapter. There was the haughty and triumphant heroine in her studio. She had been given a medal—she had plenty of orders—she had just refused a Count. Everyone had gone, and she sat alone in her fine studio, self-satisfied and triumphant.

Then she picks up an old American paper which was lying about; reads it idly as she smokes her cigarette—and then both paper and cigarette drop to the floor, and she sits staring.

Then she starts up—her arms out—vainly. "Wait! O Wait!" she cries—"I was coining back,"—and drops into her chair again. The fire is out. She is alone.

Rosamond shut the book and leaned back upon her pillow. Her eyes were shut tight; but a little gleaming line showed on either cheek under the near light. She put the light out and lay quite still.

*

Allen G. Goddard, in his capacity as "reader" was looking over some popular English novels which his firm wished to arrange about publishing in America. He left "Two and One" to the last. It was the second edition, the illustrated one which he had not seen yet; the first he had read before. He regarded it from time to time with a peculiar expression.

"Well," he said to himself, "I suppose I can stand it if the others do." And he opened the book.

The drawing was strong work certainly, in a style he did not know. They were striking pictures, vivid, real, carrying out in last detail the descriptions given, and the very spirit of the book, showing it more perfectly than the words. There was the tender happiness of the lovers, the courage, the firmness, the fixed purpose in the young sculptor insisting on her freedom, and the gay pride of the successful artist in her work.

There was beauty and charm in this character, yet the face was always turned away, and there was a haunting suggestion of familiarity in the figure. The other girl was beautiful, and docile in expression; well-dressed and graceful; yet somehow unattractive, even at her best, as nurse; and the man was extremely well drawn, both in his happy ardor as a lover, and his grinding misery when rejected. He was very good-looking; and here too was this strong sense of resemblance.

"Why he looks like me!" suddenly cried the reader—springing to his feet. "Confound his impudence!" he cried. "How in thunder!" Then he looked at the picture again, more carefully, a growing suspicion in his face; and turned hurriedly to the title page,—seeing a name unknown to him.

This subtle, powerful convincing work; this man who undeniably suggested him; this girl whose eyes he could not see; he turned from one to another and hurried to the back of the book.

"The fire was out—she was alone." And there, in the remorseless light of a big lamp before her fireless hearth, the crumpled newspaper beside her, and all hope gone from a limp, crouching little figure, sat—why, he would know her among a thousand—even if her face was buried in her hands, and sunk on the arm of the chair—it was Rosamond!

*

She was in her little downtown room and hard at work when he entered; but she had time to conceal a new book quickly.

He came straight to her; he had a book in his hand, open—he held it out.

"Did you do this?" he demanded. "Tell me—tell me!" His voice was very unreliable.

She lifted her eyes slowly to his; large, soft, full of dancing lights, and the rich color swept to the gold-lighted borders of her hair.

"Did you?" she asked.

He was taken aback. "I!" said he. "Why it's by—" he showed her the title-page. "By A. Gage," he read.

"Yes," said she, "Go on," and he went on, 'Illustrated by A. N. Other.'"

"It's a splendid novel," she said seriously. "Real work—great work. I always knew you'd do it, Allen. I'm so proud of you!" And she held out her hand in the sincere intelligent appreciation of a fellow craftsman.

He took it, still bewildered.

"Thank you," he said. "I value your opinion—honestly I do! And—with a sudden sweep of recognition. "And yours is great work! Superb! Why you've put more into that story than I knew was there! You make the thing live and breathe! You've put a shadow of remorse in that lonely ruffian there that I was too proud to admit! And you've shown the—unconvincingness of that Other Girl; marvellously. But see here—no more fooling!"

He took her face between his hands, hands that quivered strongly, and forced her to look at him. "Tell me about that last picture! Is it—true?"

Her eyes met his, with the look he longed for. "It is true," she said.

*

After some time, really it was a long time, but they had not noticed it, he suddenly burst forth. "But how did you know?"

She lifted a flushed and smiling face: and pointed to the title page again.

"'A. Gage.'—You threw it down."

"And you—" He threw back his head and laughed delightedly. "You threw down A-N-Other! O you witch! You immeasurably clever darling! How well our work fits. By Jove! What good times we'll have!"

And they did.



THE MINOR BIRDS

Shall no bird sing except the nightingale? Must all the lesser voices cease? Lark, thrush and blackbird hold their peace? The woods wait dumb Until he come?

Must we forego the voices of the field? The hedgebird's twitter and the soft dove's cooing, All the small songs of nesting, pairing, wooing, Where each reveals What joy he feels?

Should we know how to praise the nightingale, Master of music, ecstacy and pain, If he alone sang in the springtime rain? If no one heard A minor bird?



PARLOR-MINDEDNESS

"Won't you step in?"

You step in.

"She will be down in a moment. Won't you sit down?"

You sit down. You wait. You are in the parlor.

What is this room? What is it for?

It is not to sleep in, the first need of the home. Not to eat in, the second. Not to shelter young in, the third. Not to cook and wash in, to sew and mend in, to nurse and tend in; not for any of the trades which we still practice in the home.

It is a place for social intercourse. If the family is sufficiently intelligent they use it for this purpose, gathering there in peace and decorum, for rest and pleasure. Whether the family is of that order or not, they use the parlor, if they have one, for the entertainment of visitors. Our ancient Webster gives first: "The apartment in monastery or nunnery where the inmates are permitted to meet and converse with each other, or with visitors and friends from without," and second, "A room in a house which the family usually occupy for society and conversation; the reception room for visitors." It is, as the derivation declares, "a talking room."

While you wait in the parlor you study it.

It is the best room. It has the best carpet, the best furniture, the pictures and decorations considered most worthy. It is adorned as a shrine for the service of what we feel rather than think to be a noble purpose—to promote social intercourse.

In the interchange of thought and feeling that form so large and essential a part of human life, these parlors are the vehicles provided. Are they all the vehicles provided? Is it in parlors that the sea of human thought ebbs and flows most freely? That mind meets mind, ideas are interchanged, and the soul grows by contact with its kind? Is it in parlors that art is talked? politics? business? affairs of state? new lights in science? the moving thoughts of the world?

If you could hide in a thousand parlors and listen to the talk therein what would you hear? When "she" has come down, greeted her friend with effusion or her caller with ample cordiality, and the talk begins, the interchange of thought, what does the parlor bring forth?

Alas and alas! It brings forth the kitchen, the nursery, and the dressmaker's shop. It furnishes shop-talk mostly, gossip of the daily concerns of the speakers.

Are there no men then in the parlors? Yes, frequently. The man of the house is there with his family in the evening; other men call with their wives; young men call on young women to court them; but in all these cases the men, talking to the women, must needs confine the conversation to their lines of work and thought. When men talk with men it is not in parlors. The women may be ignorant, knowing only household affairs; or they may be "cultivated," more highly educated than the men, talking glibly of books they have read, lectures they have heard, plays they have seen; while the men can talk well only of the work they have done.

When men wish to talk with men of world-business of any sort, they do not seek the parlor. The street, the barroom, the postoffice, some public place they want where they may meet freely on broader ground. For the parlor is the women's meeting ground—has been for long their only meeting ground except the church steps.

Its limits are sharp and clear. Only suitable persons may enter the parlor; only one's acquaintances and friends. Thus the social intercourse of women, for long years has been rigidly confined to parlor limits; they have conversed only with their own class and kind, forever rediscussing the same topics, the threadbare theme of their common trade; and the men who come to their parlor, talk politely to them there within prescribed lines.

It is interesting and pathetic to see the woman, when means allow, enlarge the size of her parlor, the number of her guests, seeking continually for that social intercourse for which the soul hungers, and which the parlor so meagerly provides. As we see the fakir;

"Eating with famished patience grain by grain, A thousand grains of millet-seed a day,"—

So the woman talks incessantly with as many as she can—neither giving nor getting what is needed.

When we find an institution so common as the parlor, exerting a constant influence upon us from childhood up, carrying with it a code of manners, a system of conduct, a scheme of decoration, a steady prohibitive pressure upon progressive thought, we shall be wise to study that institution and in especial its effect upon the mind.

First, we may observe as in the kitchen the dominant note of personality.

In the parlor more than elsewhere are to be found the "traces of a woman's hand." It is her room, the Lady of the House and other Ladies of other Houses, having each their own to exhibit, all politely praise one another's display.

When a knowledge of art, a sense of beauty, grows in the world, and slowly affects the decorators and furnishers, then does it through the blandishments of the merchants filter slowly into a thousand parlors. But as easily when there is neither art nor beauty in such furnishings, are they foisted upon the purchasing housewife. Such as it is, provided through the limitations of the housewife's mind and the husband's purse, this "best room" becomes a canon of taste to the growing child.

"The parlor set" he must needs see held up as beautiful; the "reception chairs," the carefully shadowed carpet,—these and the "best dress" to go with them and the "company manners" added, are unescapable aesthetic influences.

Few children like the parlor, few children are wanted or allowed in the parlor, yet it has a steady influence as a sort of social shrine.

Most rigidly it teaches the child exclusiveness, the narrow limits of one's "social acquaintances." As rigidly and most evilly it teaches him falsehood. Scarcely a child but hears the mother's fretful protest against the visitor, followed by the lightning change to cordial greeting. The white lie, the smiling fib, the steady concealment of the undesirable topic, the mutual steering off from all but a set allowance of themes, the artificial dragging in of these and their insufferable repetition—all this the silent, large-eyed child who has been allowed to stay if quiet, hears and remembers. See the little girl's "playing house." See the visitor arrive, the polite welcome, the inquiries after health, the babbling discussion of babies and dress and cookery and servants,—these they have well learned are proper subjects for parlor talk.

The foolish and false ideas of beauty held up to them as "best," they seek to perpetuate. The arbitrary "best dress" system, develops into a vast convention, a wearing of apparel not for beauty, and not for use, not for warmth, protection nor modesty (often quite the opposite of all these), but as a conventional symbol of respectability.

So interwoven with our inner consciousness are these purely arbitrary codes of propriety in costume, that we have such extremes as Kipling shows us in his remote Himalayan forests,—a white man thousands of miles from his kind, who "dressed for dinner every night to preserve his self-respect." No doubt a perfectly sincere conviction, and one sunk deep in the highbred British breast, but even so of a most shallow and ephemeral nature, based on nothing whatever but a temporary caprice of our parlor-mindedness.

Being reared in that state of mind, and half of us confined to it professionally, we are inevitably affected thereby, and react upon life—the real moving world-life, under its pitiful limitations.

If one's sense of beauty must be first, last and always personal, and confined to one's parlor,—for of course we cannot dictate as to other women's parlors,—then how is it to be expected that we should in any way notice, feel or see the ugliness of our town or city, schoolhouse or street-car?

See the woman who has had "an education," who has even "studied art," perhaps, and whose husband can pay for what she wants. Her parlor may become a drawing-room, or two, or more, but she does not grow to care that a public school-room is decorated in white plaster trimmed with a broad strip of blackboard.

The bald, cruel, wearing ugliness of the most of our schools, is worthy of penal institutions, yet we with cheerful unconcern submit growing children to such influences without ever giving it a thought.

"My parlor" must be beautiful, but "our school" is no business of mine. Is there any real reason, by the way, why blackboards must be black? A deep dull red or somber green would be restful and pleasant to the eye, and show chalk just as well. As is being now slowly discovered. There are no blackboards in our parlors. Our children leave home to go to school, and their mother's thoughts do not. In the small measure of parlor decoration grows no sense of public art.

Great art must be largely conceived, largely executed. For the temple and palace and forum rose the columns and statues of the past; for the church and castle the "frozen music" of mediaeval architecture; for church and palace again, the blazing outburst of pictorial art in the great re-birth. Now the struggling artist must cater to the tastes of parlor-bred patrons; must paint what suits the uses of that carpeted sanctuary, portraits of young ladies most successful! Or he must do for public buildings, if by chance he gets the opportunity, what meets the tastes of our universal parlor-mindedness.

With this parlor-mindedness, we repudiate and condemn in painting, literature, music, drama and the dance, whatever does not conform to the decorum of this shrine, whatsoever is not suitable to ladylike conversation. Be the book bad, it is unsuited to the parlor table. Be the book good—too good, or be it great, then it is equally unsuited. Controversy has no place in parlors, hence no controversial literature. Pleasant if possible, or sweetly sad, and not provocative of argument—this is the demeanor of the parlor table, and to this the editor conforms. To the editorial dictum the "reader" must submit; to the "readers" decisions the writer must submit; to the menu furnished by the magazines, the public must submit, and so grows up among us a canon of literary judgment, best described as "parlor-minded." This is by no means so damaging as kitchen-mindedness, for those who escape the influence of the parlor are many, and those who escape the influence of the kitchen are few; but it is quite damaging enough.

One of the main elements of beauty in our lives is the human body. Some keep swans, some peacocks, and some deer, that they may delight their eyes with the beauty thereof. We ourselves are more beautiful than any beast or bird, we are the inspiration of poet, painter, and sculptor; yet we have deliberately foregone all this constant world of beauty and substituted for it a fluctuating nightmare.

In what sordid or discordant colors do we move about! What desolate blurring of outline and action, by our dragging masses of cloth, stiffened and padded like Chinese armor! What strange figures, conventionalized as a lotus pattern, instead of the moving glory of the human form!

Why do we do it? Having done it why do we bear it longer? Why not fill our streets with beauty, gladden our eyes and uplift our souls with the loveliness that is ours by nature, plus the added loveliness of the textile art? We have pictures of our beauty, we have statues of our beauty—why go without the real thing? Suppose our swans could show us in paint and marble the slow white grace of their plumed sailing, but in person paddled about in a costume of stovepipes. Suppose deer and hound,—but wait!—this we have seen, this extreme of human folly forced upon the helpless beast,—dogs dressed to suit the taste of their parlor-minded owners! Not men's dogs,—women's dogs.

To cover—at any cost, with anything, that is a major ideal of the parlor. There is an exception made, when, at any cost of health, beauty and decency, we uncover—but this too, is to meet one of the parlor purposes. In it and its larger spread of drawing and assembly rooms, we provide not only for "social intercourse"—but for that necessary meeting of men and women that shall lead to marriage.

A right and wholesome purpose, but not a right and wholesome place. Men and women should meet and meet freely in the places where they live, but they should not live in parlors. They should meet and know one another in their working clothes, in the actual character and habit of their daily lives.

Marriages may be "made in heaven," but they are mainly—shall we say "retailed"? in parlors. What can the parlor-loved young woman know of the parlor-bound young man? Parlor manners only are produced, parlor topics, parlor ideas. He had better court her in the kitchen, if she is one of the "fifteen sixteenths" of our families who keep no servants, to know what he is going to live with. She never knows what she is going to live with; for the nature of man is not truly exhibited either in kitchen or parlor. A co-educational college does much, a studio or business office or work-shop does more, to show men and women to each other as they are. Neither does enough, for the blurring shadow of our parlor-mindedness still lies between. It has so habituated us to the soft wavelets and glassy shallows of polite conversation, that we refuse to face and discuss the realities of life. With gifts of roses and bonbons, suppers and theatres that cost more than the cows of the Kaffir lover, and ought to make the girl feel like a Kaffir bride, the man woos the woman. With elaborate toilettes and all the delicate trickery of her unnatural craft, the woman woos the man. And the trail of the parlor is over it all.

Gaily to the gate of marriage they go, and through it—and never have they asked or answered the questions on which the whole truth of their union depends. Our standards of decorum forbid,—parlor standards all. We have woven and embroidered a veil over the facts of life; an incense-clouded atmosphere blinds us; low music and murmured litanies dull the mind, but not the senses. We drift and dream. In the girl's mind floats a cloud of literary ideals. He is like a "Greek god," a "Galahad," a "Knight of old." He is in some mystic way a Hero, a Master, a Protector. She pictures herself as fulfilling exquisite ideals of wifely devotion, "all in all" to him, and he to her.

She does not once prefigure to herself the plain common facts of the experience that lies before her. She does not known them. In parlors such things are not discussed,—no naked truths can be admitted there.

We live a marvellous life at home. Visibly we have the care and labor of housekeeping, the strain and anxiety of childbearing as it is practised, the elaborate convention of "receiving" and "entertaining." Under these goes on life. Our bodies are tired, overtaxed, ill-fed, grossly ill-treated. Our minds are hungry, unsatisfied, or drugged and calm. We live, we suffer and we die,—and never once do we face the facts. Birth and death are salient enough, one would think, but birth and death we particularly cover and hide, concealing from our friends with conventional phrases, lying about to our children. Over the strong ever-lasting life-processes, we spin veil on veil; drape and smother them till they become sufficiently remote and symbolic for the parlor to recognize.

In older nations than ours, we can see this web of convention thickened and hardened till life runs low within. Think what can be the state of mind in India which allows child-marriage—the mother concurrent! Think of the slow torture of little girls in foot-bound China, the mother concurrent! Then turning quickly, think of our own state of mind, which allows young girls to marry old reprobates,—the mother concurrent!

That mental attitude which maintains ancient conventions, which prefers symbol to fact, which prescribes limits to our conversation, and draws them narrowly down to what can be understood by anybody, and can instruct, interest and inspire nobody, is parlor-mindedness. It does harm enough both in its low ideals of beauty and art, manners and morals, to its placid inmates and its complaisant visitors; it does more harm in its fallacious shallows as a promoter of marriage; it does most in its failure to promote the one thing it is for—social intercourse.

To meet freely; to talk, discuss, exchange and compare ideas, is a general human need. Those who do not know they need it, need it most.

Each of us alone, taps the reservoir of world-force, in some degree, and pours it forth in some expression. Often the intake seems to fail, the output is unsatisfying. Then we need one another, now this one and now that one, now several, now a crowd. In combination we receive new power. The human soul calls for contact and exchange with its kind. This contact should be fluent and free, spontaneous, natural; that we may go as we are drawn to those who feed us best.

Men need men and women women; men and women need one another; it is a general human condition. From such natural meeting arises personal relief, rest, pleasure, stimulus, and social gain beyond counting, in the growth of thought. The social battery is continually replenished by contact and exchange. Some friends draw out the best that is in us, some, though perhaps near and dear to us, do not.

No matter how "happily married," or how unhappily unmarried, we need social interchange. To quench this thirst, to meet this need, wide as the world and deep as life, we provide—the parlor.

Is it any wonder that our talk is mainly personality? That we love gossip, even when it bites and sours to scandal? Is it any wonder that women talk so much of their kitchen and nurseries, of their diseases, and their clothes, yet learn so little about better feeding, better dressing, better health and better child-culture? Is it any wonder that to our parlor-mindedness the daily press descends, gives us the pap we are used to, and then artfully peppers our pap, insinuating some sparkle of alcohol, some solace of insidious drug, that we may "get the habit" more firmly? Is it any wonder that we, parlor-bred and newspaper-fed, continue to cry out fiercely against personal, primitive, parlor sins, and remain calm and unshocked by world-sins that should rouse us to horror, shame and action?

In these small shrines, adorned with what, in our doll-house taste, we fondly imagine to be beautiful, we seek to keep ourselves, "unspotted from the world," but by no saving grace of a thousand parlors, do we succeed in keeping the world unspotted from ourselves! We make the world. We are the world. It might be a place of noble freedom, of ever-growing beauty, of a fluent, truthful radiant art, of broadening education, wide peace and culture, universal wealth and progress. And we miss even seeing this, living sedately, curtained, carpeted, well content, in our ancestral parlor-mindedness.



NAUGHTY

The young brain was awake and hungry. It was a vigorous young brain, well-organized; eager, receiving impressions with keen joy and storing them rapidly away in due relation.

Such a wonder world!

Sweetness and light were the first impressions—light which made his eyes laugh; and Sweetness Incarnate—that great soft Presence which was Food and Warmth and Rest and Comfort and something better still; for all of which he had no name as yet except "Ma-ma!"

He was growing, growing fast. He was satisfied with food. He was satisfied with sleep. But his brain was not satisfied. So the brain's first servant went forth to minister to it; small, soft, uncertain, searching for all knowledge—the little hand.

Something to hold! Ancestral reflexes awoke as the fingers closed upon it. Something to pull! The soft arm flexors tightened with a sense of pleasure. Sensations came flowing to the hungry brain—welcomed eagerly.

Then suddenly, a new sensation—Pain! He drew back his hand as a touched anemone draws in its tentacles, scarce softer than those pink fingers; but he did not know quite where the pain was—much less where it came from, or what it meant.

"More!" said the hungry brain. "More!" and the little hand went out again.

It was sharply spatted. "No, No!" said a strange voice—he had never heard that kind of tone before. "No! No! Naughty! Don't touch!" He lifted his face unbelievingly. Yes—it was Food and Warmth and Comfort who was doing this to him.

The small moist mouth quivered grievingly—a cry rose in him.

"Here!" said the Presence, and gave him a rattle.

He had had that before. He knew all that it could do. He dropped it.

Over and over again, day after day, the little servant of the brain ran forth to minister, and met sharp pain; while the dim new concept "'Naughty'—something you want to do and mustn't"—was registered within.

The child grew and his brain grew faster. He learned new words, an behind the words, in the fresh untouched spaces, the swift brain placed ideas—according to its lights. He had learned that the Presence varied. It was not always Sweetness and Rest and Joy—sometimes it was Discomfort—Hindrance—even Pain. He had learned to look at it with doubt—when about to do something—to see which way it would react upon him.

"Isn't that baby cute?" said the Presence. "He knows just as well!"

But his brain grew stronger, and his hand grew stronger, and about him was a world of objects, rousing all manner of sensations which he fain would learn.

"I have to watch that child every minute to keep him out of mischief!" said the Presence.

She caught him sharply by the arm and drew him back.

"Don't touch that again! If you do I'll whip you!"

He stared at her, large-eyed, revolving the language. Language was so interesting. "Don't" he knew well, and "touch" and "that" and "again." "If you do" was harder. He was not at all sure about "if." And "whip"—that was quite new. He puckered his soft mouth and made a little whispering sound, trying to say it.

"Yes, Whip!" said the Presence. "Now you be good!" He knew "be good," too. It meant not doing anything. He couldn't be good very long—any more than the Proverbial Indian.

In the course of his growing he soon learned "Whip." It was very unpleasant. The busy brain, receiving, sorting, arranging, re-arranging, stored up this fierce experience without delay. "Whipping—Pain and Insult. It happens when you break anything. It is a Consequence."

The brain was kept very busy re-arranging this Consequence. "It happens when you spill the milk—when you soil your dress—when you tear it (dresses must be sacred!)—when you 'meddle'—when you run away—when you get wet—when you take sugar—when"—(this was a great discovery), "when Mama is Angry." He was older now, and found that the Presence varied a good deal. So the brain built up its group of ethical impressions.

And then—one memorable day—this neat arrangement of ethics, true, received a great shock.

There was the sugar—in easy reach—and sugar is All Good to the young body. Remembered pleasure, strong immediate desire, the eye's guidance, the hand's impulse—all urged to perform the natural act of eating. Against it,—what? The blurred remembrance of promiscuous pain, only by main force to be associated with that coveted, visible pleasure; and the dawning power of inhibition. To check strong natural desire by no better force than the memory of oral threat, or even of felt pain, is not easy always for adults.

He ate the sugar, fearing yet joyous. No one else was present. No one saw the act, nor learned it later.

He was not whipped.

Then rose the strong young brain to new occasion. It observed, deduced, even experimented, flushed with the pleasure of normal exercise. It established, before he was five years old, these conclusions:

"'Naughty' is a thing you're punished for doing—if you're not punished it isn't naughty.

"Punishment is a thing that happens if you're found out—if you're not found out you're not punished.

"Ergo—if you're not found out you're not naughty!"

And the child grew up to be a man.



WHAT DIANTHA DID

CHAPTER V.

When the fig growns on the thistle, And the silk purse on the sow; When one swallow brings the summer, And blue moons on her brow—

Then we may look for strength and skill, Experience, good health, good will, Art and science well combined, Honest soul and able mind, Servants built upon this plan, One to wait on every man, Patiently from youth to age,— For less than a street cleaner's wage!

When the parson's gay on Mondays, When we meet a month of Sundays, We may look for them and find them— But Not Now!

When young Mrs. Weatherstone swept her trailing crepe from the automobile to her friend's door, it was opened by a quick, soft-footed maid with a pleasant face, who showed her into a parlor, not only cool and flower-lit, but having that fresh smell that tells of new-washed floors.

Mrs. Porne came flying down to meet her, with such a look of rest and comfort as roused instant notice.

"Why, Belle! I haven't seen you look so bright in ever so long. It must be the new maid!"

"That's it—she's 'Bell' too—'Miss Bell' if you please!"

The visitor looked puzzled. "Is she a—a friend?" she ventured, not sure of her ground.

"I should say she was! A friend in need! Sit here by the window, Viva—and I'll tell you all about it—as far as it goes."

She gaily recounted her climax of confusion and weariness, and the sudden appearance of this ministering angel. "She arrived at about quarter of ten. I engaged her inside of five minutes. She was into a gingham gown and at work by ten o'clock!"

"What promptness! And I suppose there was plenty to do!"

Mrs. Porne laughed unblushingly. "There was enough for ten women it seemed to me! Let's see—it's about five now—seven hours. We have nine rooms, besides the halls and stairs, and my shop. She hasn't touched that yet. But the house is clean—clean! Smell it!"

She took her guest out into the hall, through the library and dining-room, upstairs where the pleasant bedrooms stretched open and orderly.

"She said that if I didn't mind she'd give it a superficial general cleaning today and be more thorough later!"

Mrs. Weatherstone looked about her with a rather languid interest. "I'm very glad for you, Belle, dear—but—what an endless nuisance it all is—don't you think so?"

"Nuisance! It's slow death! to me at least," Mrs. Porne answered. "But I don't see why you should mind. I thought Madam Weatherstone ran that—palace, of yours, and you didn't have any trouble at all."

"Oh yes, she runs it. I couldn't get along with her at all if she didn't. That's her life. It was my mother's too. Always fussing and fussing. Their houses on their backs—like snails!"

"Don't see why, with ten (or is it fifteen?) servants."

"Its twenty, I think. But my dear Belle, if you imagine that when you have twenty servants you have neither work nor care—come and try it awhile, that's all!"

"Not for a millionaire baby's ransom!" answered Isabel promptly.

"Give me my drawing tools and plans and I'm happy—but this business"—she swept a white hand wearily about—"it's not my work, that's all."

"But you enjoy it, don't you—I mean having nice things?" asked her friend.

"Of course I enjoy it, but so does Edgar. Can't a woman enjoy her home, just as a man does, without running the shop? I enjoy ocean travel, but I don't want to be either a captain or a common sailor!"

Mrs. Weatherstone smiled, a little sadly. "You're lucky, you have other interests," she said. "How about our bungalow? have you got any farther?"

Mrs. Porne flushed. "I'm sorry, Viva. You ought to have given it to someone else. I haven't gone into that workroom for eight solid days. No help, and the baby, you know. And I was always dog-tired."

"That's all right, dear, there's no very great rush. You can get at it now, can't you—with this other Belle to the fore?"

"She's not Belle, bless you—she's 'Miss Bell.' It's her last name."

Mrs. Weatherstone smiled her faint smile. "Well—why not? Like a seamstress, I suppose."

"Exactly. That's what she said. "If this labor was as important as that of seamstress or governess why not the same courtesy—Oh she's a most superior and opinionated young person, I can see that."

"I like her looks," admitted Mrs. Weatherstone, "but can't we look over those plans again; there's something I wanted to suggest." And they went up to the big room on the third floor.

In her shop and at her work Isabel Porne was a different woman. She was eager and yet calm; full of ideas and ideals, yet with a practical knowledge of details that made her houses dear to the souls of women.

She pointed out in the new drawings the practical advantages of kitchen and pantry; the simple but thorough ventilation, the deep closets, till her friend fairly laughed at her. "And you say you're not domestic!"

"I'm a domestic architect, if you like," said Isabel; "but not a domestic servant.—I'll remember what you say about those windows—it's a good idea," and she made a careful note of Mrs. Weatherstone's suggestion.

That lady pushed the plans away from her, and went to the many cushioned lounge in the wide west window, where she sat so long silent that Isabel followed at last and took her hand.

"Did you love him so much?" she asked softly.

"Who?" was the surprising answer.

"Why—Mr. Weatherstone," said Mrs. Porne.

"No—not very much. But he was something."

Isabel was puzzled. "I knew you so well in school," she said, "and that gay year in Paris. You were always a dear, submissive quiet little thing—but not like this. What's happened Viva?"

"Nothing that anybody can help," said her friend. "Nothing that matters. What does matter, anyway? Fuss and fuss and fuss. Dress and entertain. Travel till you're tired, and rest till you're crazy! Then—when a real thing happens—there's all this!" and she lifted her black draperies disdainfully. "And mourning notepaper and cards and servant's livery—and all the things you mustn't do!"

Isabel put an arm around her. "Don't mind, dear—you'll get over this—you are young enough yet—the world is full of things to do!"

But Mrs. Weatherstone only smiled her faint smile again. "I loved another man, first," she said. "A real one. He died. He never cared for me at all. I cared for nothing else—nothing in life. That's why I married Martin Weatherstone—not for his old millions—but he really cared—and I was sorry for him. Now he's dead. And I'm wearing this—and still mourning for the other one."

Isabel held her hand, stroked it softly, laid it against her cheek.

"Oh, I'll feel differently in time, perhaps!" said her visitor.

"Maybe if you took hold of the house—if you ran things yourself,"—ventured Mrs. Porne.

Mrs. Weatherstone laughed. "And turn out the old lady? You don't know her. Why she managed her son till he ran away from her—and after he got so rich and imported her from Philadelphia to rule over Orchardina in general and his household in particular, she managed that poor little first wife of his into her grave, and that wretched boy—he's the only person that manages her! She's utterly spoiled him—that was his father's constant grief. No, no—let her run the house—she thinks she owns it."

"She's fond of you, isn't she?" asked Mrs. Porne.

"O I guess so—if I let her have her own way. And she certainly saves me a great deal of trouble. Speaking of trouble, there they are—she said she'd stop for me."

At the gate puffed the big car, a person in livery rang the bell, and Mrs. Weatherstone kissed her friend warmly, and passed like a heavy shadow along the rose-bordered path. In the tonneau sat a massive old lady in sober silks, with a set impassive countenance, severely correct in every feature, and young Mat Weatherstone, sulky because he had to ride with his grandmother now and then. He was not a nice young man.

*

Diantha found it hard to write her home letters, especially to Ross. She could not tell them of all she meant to do; and she must tell them of this part of it, at once, before they heard of it through others.

To leave home—to leave school-teaching, to leave love—and "go out to service" did not seem a step up, that was certain. But she set her red lips tighter and wrote the letters; wrote them and mailed them that evening, tired though she was.

Three letters came back quickly.

Her mother's answer was affectionate, patient, and trustful, though not understanding.

Her sister's was as unpleasant as she had expected.

"The idea!" wrote Mrs. Susie. "A girl with a good home to live in and another to look forward to—and able to earn money respectably! to go out and work like a common Irish girl! Why Gerald is so mortified he can't face his friends—and I'm as ashamed as I can be! My own sister! You must be crazy—simply crazy!"

It was hard on them. Diantha had faced her own difficulties bravely enough; and sympathized keenly with her mother, and with Ross; but she had not quite visualized the mortification of her relatives. She found tears in her eyes over her mother's letter. Her sister's made her both sorry and angry—a most disagreeable feeling—as when you step on the cat on the stairs. Ross's letter she held some time without opening.

She was in her little upstairs room in the evening. She had swept, scoured, scalded and carbolized it, and the hospitally smell was now giving way to the soft richness of the outer air. The "hoo! hoo!" of the little mourning owl came to her ears through the whispering night, and large moths beat noiselessly against the window screen. She kissed the letter again, held it tightly to her heart for a moment, and opened it.

"Dearest: I have your letter with its—somewhat surprising—news. It is a comfort to know where you are, that you are settled and in no danger.

"I can readily imagine that this is but the preliminary to something else, as you say so repeatedly; and I can understand also that you are too wise to tell me all you mean to be beforehand.

"I will be perfectly frank with you, Dear.

"In the first place I love you. I shall love you always, whatever you do. But I will not disguise from you that this whole business seems to me unutterably foolish and wrong.

"I suppose you expect by some mysterious process to "develope" and "elevate" this housework business; and to make money. I should not love you any better if you made a million—and I would not take money from you—you know that, I hope. If in the years we must wait before we can marry, you are happier away from me—working in strange kitchens—or offices—that is your affair.

"I shall not argue nor plead with you, Dear Girl; I know you think you are doing right; and I have no right, nor power, to prevent you. But if my wish were right and power, you would be here to-night, under the shadow of the acacia boughs—in my arms!

"Any time you feel like coming back you will be welcome, Dear.

"Yours, Ross."

Any time she felt like coming back?

Diantha slipped down in a little heap by the bed, her face on the letter—her arms spread wide. The letter grew wetter and wetter, and her shoulders shook from time to time.

But the hands were tight-clenched, and if you had been near enough you might have heard a dogged repetition, monotonous as a Tibetan prayer mill: "It is right. It is right. It is right." And then. "Help me—please! I need it." Diantha was not "gifted in prayer."

When Mr. Porne came home that night he found the wifely smile which is supposed to greet all returning husbands quite genuinely in evidence. "O Edgar!" cried she in a triumphant whisper, "I've got such a nice girl! She's just as neat and quick; you've no idea the work she's done today—it looks like another place already. But if things look queer at dinner don't notice it—for I've just given her her head. I was so tired, and baby bothered so, and she said that perhaps she could manage all by herself if I was willing to risk it, so I took baby for a car-ride and have only just got back. And I think the dinner's going to be lovely!"

It was lovely. The dining-room was cool and flyless. The table was set with an assured touch. A few of Orchardina's ever ready roses in a glass bowl gave an air of intended beauty Mrs. Porne had had no time for.

The food was well-cooked and well-served, and the attendance showed an intelligent appreciation of when people want things and how they want them.

Mrs. Porne quite glowed with exultation, but her husband gently suggested that the newness of the broom was visibly uppermost, and that such palpable perfections were probably accompanied by some drawbacks. But he liked her looks, he admitted, and the cooking would cover a multitude of sins.

On this they rested, while the week went by. It was a full week, and a short one. Mrs. Porne, making hay while the sun shone, caught up a little in her sewing and made some conscience-tormenting calls.

When Thursday night came around she was simply running over with information to give her husband.

"Such a talk as I have had with Miss Bell! She is so queer! But she's nice too, and it's all reasonable enough, what she says. You know she's studied this thing all out, and she knows about it—statistics and things. I was astonished till I found she used to teach school. Just think of it! And to be willing to work out! She certainly does her work beautiful, but—it doesn't seem like having a servant at all. I feel as if I—boarded with her!"

"Why she seemed to me very modest and unpresuming," put in Mr. Porne.

"O yes, she never presumes. But I mean the capable way she manages—I don't have to tell her one thing, nor to oversee, nor criticize. I spoke of it and she said, 'If I didn't understand the business I should have no right to undertake it."

"That's a new point of view, isn't it?" asked her husband. "Don't they usually make you teach them their trade and charge for the privilege?"

"Yes, of course they do. But then she does have her disadvantages—as you said."

"Does she? What are they?"

"Why she's so—rigid. I'll read you her—I don't know what to call it. She's written out a definite proposition as to her staying with us, and I want you to study it, it's the queerest thing I ever saw."

The document was somewhat novel. A clear statement of the hours of labor required in the position, the quality and amount of the different kinds of work; the terms on which she was willing to undertake it, and all prefaced by a few remarks on the status of household labor which made Mr. Porne open his eyes.

Thus Miss Bell; "The ordinary rate for labor in this state, unskilled labor of the ordinary sort, is $2.00 a day. This is in return for the simplest exertion of brute force, under constant supervision and direction, and involving no serious risk to the employer."

"Household labor calls for the practice of several distinct crafts, and, to be properly done, requires thorough training and experience. Its performer is not only in a position of confidence, as necessarily entrusted with the care of the employer's goods and with knowledge of the most intimate family relations; but the work itself, in maintaining the life and health of the members of the household, is of most vital importance.

"In consideration of existing economic conditions, however, I am willing to undertake these intricate and responsible duties for a seven day week at less wages than are given the street-digger, for $1.50 a day."

"Good gracious, my dear!" said Mr. Porne, laying down the paper, "This young woman does appreciate her business! And we're to be let off easy at $45.00 a month, are we"

"And feel under obligations at that!" answered his wife. "But you read ahead. It is most instructive. We shall have to ask her to read a paper for the Club!"

"'In further consideration of the conditions of the time, I am willing to accept part payment in board and lodging instead of cash. Such accommodations as are usually offered with this position may be rated at $17.00 a month."

"O come now, don't we board her any better than that?"

"That's what I thought, and I asked her about it, and she explained that she could get a room as good for a dollar and a-half a week—she had actually made inquiries in this very town! And she could; really a better room, better furnished, that is, and service with it. You know I've always meant to get the girl's room fixed more prettily, but usually they don't seem to mind. And as to food—you see she knows all about the cost of things, and the materials she consumes are really not more than two dollars and a half a week, if they are that. She even made some figures for me to prove it—see."

Mr. Porne had to laugh.

"Breakfast. Coffee at thirty-five cents per pound, one cup, one cent. Oatmeal at fourteen cents per package, one bowl, one cent. Bread at five cents per loaf, two slices, one-half cent. Butter at forty cents per pound, one piece, one and a-half cents. Oranges at thirty cents per dozen, one, three cents. Milk at eight cents per quart, on oatmeal, one cent. Meat or fish or egg, average five cents. Total—thirteen cents."

"There! And she showed me dinner and lunch the same way. I had no idea food, just the material, cost so little. It's the labor, she says that makes it cost even in the cheapest restaurant."

"I see," said Mr. Porne. "And in the case of the domestic servant we furnish the materials and she furnishes the labor. She cooks her own food and waits on herself—naturally it wouldn't come high. What does she make it?"

'Food, average per day . . . $0.35 Room, $1.50 per w'k, ave. per day . . . .22 ——- .57

Total, per month . . . $17.10

$1.50 per day, per month . . . $45.00

"'Remaining payable in cash, $28.00.' Do I still live! But my dear Ellie, that's only what an ordinary first-class cook charges, out here, without all this fuss!"

"I know it, Ned, but you know we think it's awful, and we're always telling about their getting their board and lodging clear—as if we gave'em that out of the goodness of our hearts!"

"Exactly, my dear. And this amazing and arithmetical young woman makes us feel as if we were giving her wampum instead of money—mere primitive barter of ancient days in return for her twentieth century services! How does she do her work—that's the main question."

"I never saw anyone do it better, or quicker, or easier. That is, I thought it was easy till she brought me this paper. Just read about her work, and you'll feel as if we ought to pay her all your salary."

Mr. Porne read:

"Labor performed, average ten hours a day, as follows: Preparation of food materials, care of fires, cooking, table service, and cleaning of dishes, utensils, towels, stove, etc., per meal—breakfast two hours, dinner three hours, supper or lunch one hour—six hours per day for food service. Daily chamber work and dusting, etc., one and one-half hours per day. Weekly cleaning for house of nine rooms, with halls, stairs, closets, porches, steps, walks, etc., sweeping, dusting, washing windows, mopping, scouring, etc., averaging two hours per day. Door service, waiting on tradesmen, and extras one-half hour per day. Total ten hours per day."

"That sounds well. Does it take that much time every day?"

"Yes, indeed! It would take me twenty!" she answered. "You know the week I was here alone I never did half she does. Of course I had Baby, but then I didn't do the things. I guess when it doesn't take so long they just don't do what ought to be done. For she is quick, awfully quick about her work. And she's thorough. I suppose it ought to be done that way—but I never had one before."

"She keeps mighty fresh and bright-looking after these herculean labors."

"Yes, but then she rests! Her ten hours are from six-thirty a.m., when she goes into the kitchen as regularly as a cuckoo clock, to eight-thirty p.m. when she is all through and her kitchen looks like a—well it's as clean and orderly as if no one was ever in it."

"Ten hours—that's fourteen."

"I know it, but she takes out four. She claims time to eat her meals."

"Preposterous!"

"Half an hour apiece, and half an hour in the morning to rest—and two in the afternoon. Anyway she is out, two hours every afternoon, riding in the electric cars!"

"That don't look like a very hard job. Her day laborer doesn't get two hours off every afternoon to take excursions into the country!"

"No, I know that, but he doesn't begin so early, nor stop so late. She does her square ten hours work, and I suppose one has a right to time off."

"You seem dubious about that, my dear."

"Yes, that's just where it's awkward. I'm used to girls being in all the time, excepting their day out. You see I can't leave baby, nor always take him—and it interferes with my freedom afternoons."

"Well—can't you arrange with her somehow?"

"See if you can. She says she will only give ten hours of time for a dollar and a half a day—tisn't but fifteen cents an hour—I have to pay a woman twenty that comes in. And if she is to give up her chance of sunlight and fresh air she wants me to pay her extra—by the hour. Or she says, if I prefer, she would take four hours every other day—and so be at home half the time. I said it was difficult to arrange—with baby, and she was very sympathetic and nice, but she won't alter her plans."

"Let her go, and get a less exacting servant."

"But—she does her work so well! And it saves a lot, really. She knows all about marketing and things, and plans the meals so as to have things lap, and it's a comfort to have her in the house and feel so safe and sure everything will be done right."

"Well, it's your province, my dear. I don't profess to advise. But I assure you I appreciate the table, and the cleanness of everything, and the rested look in your eyes, dear girl!"

She slipped her hand into his affectionately. "It does make a difference," she said. "I could get a girl for $20.00 and save nearly $2.60 a week—but you know what they are!"

"I do indeed," he admitted fervently. "It's worth the money to have this thing done so well. I think she's right about the wages. Better keep her."

"O—she'll only agree to stay six months even at this rate!"

"Well—keep her six months and be thankful. I thought she was too good to last!"

They looked over the offered contract again. It closed with:

"This agreement to hold for six months from date if mutually satisfactory. In case of disagreement two weeks' notice is to be given on either side, or two weeks' wages if preferred by the employer." It was dated, and signed "Miss D. C. Bell."

And with inward amusement and great display of penmanship they added "Mrs. Isabel J. Porne," and the contract was made.



[Erratum]

Apology is due to Mr. Horace Traubel, by whose kind permission "Little Leafy Brothers," in our February issue, was reprinted from "The Conservator," for not giving proper acknowledgment. Also to our readers for the same omission.



OUR ANDROCENTRIC CULTURE; or, THE MAN-MADE WORLD

V.

MASCULINE LITERATURE.

When we are offered a "woman's" paper, page, or column, we find it filled with matter supposed to appeal to women as a sex or class; the writer mainly dwelling upon the Kaiser's four K's—Kuchen, Kinder, Kirche, Kleider. They iterate and reiterate endlessly the discussion of cookery, old and new; of the care of children; of the overwhelming subject of clothing; and of moral instruction. All this is recognized as "feminine" literature, and it must have some appeal else the women would not read it. What parallel have we in "masculine" literature?

"None!" is the proud reply. "Men are people! Women, being 'the sex,' have their limited feminine interests, their feminine point of view, which must be provided for. Men, however, are not restricted—to them belongs the world's literature!"

Yes, it has belonged to them—ever since there was any. They have written it and they have read it. It is only lately that women, generally speaking, have been taught to read; still more lately that they have been allowed to write. It is but a little while since Harriet Martineau concealed her writing beneath her sewing when visitors came in—writing was "masculine"—sewing "feminine."

We have not, it Is true, confined men to a narrowly construed "masculine sphere," and composed a special literature suited to it. Their effect on literature has been far wider than that, monopolizing this form of art with special favor. It was suited above all others to the dominant impulse of self-expression; and being, as we have seen essentially and continually "the sex;" they have impressed that sex upon this art overwhelmingly; they have given the world a masculized literature.

It is hard for us to realize this. We can readily see, that if women had always written the books, no men either writing or reading them, that would have surely "feminized" our literature; but we have not in our minds the concept, much less the word, for an overmasculized influence.

Men having been accepted as humanity, women but a side-issue; (most literally if we accept the Hebrew legend!), whatever men did or said was human—and not to be criticized. In no department of life is it easier to contravert this old belief; to show how the male sex as such differs from the human type; and how this maleness has monopolized and disfigured a great social function.

Human life is a very large affair; and literature is its chief art. We live, humanly, only through our power of communication. Speech gives us this power laterally, as it were, in immediate personal contact. For permanent use speech becomes oral tradition—a poor dependence. Literature gives not only an infinite multiplication to the lateral spread of communion but adds the vertical reach. Through it we know the past, govern the present, and influence the future. In its servicable common forms it is the indispensable daily servant of our lives; in its nobler flights as a great art no means of human inter-change goes so far.

In these brief limits we can touch but lightly on some phases of so great a subject; and will rest the case mainly on the effect of an exclusively masculine handling of the two fields of history and fiction. In poetry and the drama the same influence is easily traced, but in the first two it is so baldly prominent as to defy objection.

History is, or should be, the story of our racial life. What have men made it? The story of warfare and conquest. Begin at the very beginning with the carven stones of Egypt, the clay records of Chaldea, what do we find of history?

"I Pharaoh, King of Kings! Lord of Lords! (etc. etc.), "went down into the miserable land of Kush, and slew of the inhabitants thereof an hundred and forty and two thousands!" That, or something like it, is the kind of record early history gives us.

The story of Conquering Kings, who and how many they killed and enslaved; the grovelling adulation of the abased; the unlimited jubilation of the victor; from the primitive state of most ancient kings, and the Roman triumphs where queens walked in chains, down to our omni present soldier's monuments: the story of war and conquest—war and conquest—over and over; with such boasting and triumph, such cock-crow and flapping of wings as show most unmistakably the natural source.

All this will strike the reader at first as biased and unfair. "That was the way people lived in those days!" says the reader.

No—it was not the way women lived.

"O, women!" says the reader, "Of course not! Women are different."

Yea, women are different; and men are different! Both of them, as sexes, differ from the human norm, which is social life and all social development. Society was slowly growing in all those black blind years. The arts, the sciences, the trades and crafts and professions, religion, philosophy, government, law, commerce, agriculture—all the human processes were going on as well as they were able, between wars.

The male naturally fights, and naturally crows, triumphs over his rival and takes the prize—therefore was he made male. Maleness means war.

Not only so; but being male, he cares only for male interests. Men, being the sole arbiters of what should be done and said and written, have given us not only a social growth scarred and thwarted from the beginning by continual destruction; but a history which is one unbroken record of courage and red cruelty, of triumph and black shame.

As to what went on that was of real consequence, the great slow steps of the working world, the discoveries and inventions, the real progress of humanity—that was not worth recording, from a masculine point of view. Within this last century, "the woman's century," the century of the great awakening, the rising demand for freedom, political, economic, and domestic, we are beginning to write real history, human history, and not merely masculine history. But that great branch of literature—Hebrew, Greek, Roman, and all down later times, shows beyond all question, the influence of our androcentric culture.

Literature is the most powerful and necessary of the arts, and fiction is its broadest form. If art "holds the mirror up to nature" this art's mirror is the largest of all, the most used. Since our very life depends on some communication; and our progress is in proportion to our fullness and freedom of communication; since real communication requires mutual understanding; so in the growth of the social consciousness, we note from the beginning a passionate interest in other people's lives.

The art which gives humanity consciousness is the most vital art. Our greatest dramatists are lauded for their breadth of knowledge of "human nature," their range of emotion and understanding; our greatest poets are those who most deeply and widely experience and reveal the feelings of the human heart; and the power of fiction is that it can reach and express this great field of human life with no limits but those of the author.

When fiction began it was the legitimate child of oral tradition; a product of natural brain activity; the legend constructed instead of remembered. (This stage is with us yet as seen in the constant changes in repetition of popular jokes and stories.)

Fiction to-day has a much wider range; yet it is still restricted, heavily and most mischievously restricted.

What is the preferred subject matter of fiction?

There are two main branches found everywhere, from the Romaunt of the Rose to the Purplish Magazine;—the Story of Adventure, and the Love Story.

The Story-of-Adventure branch is not so thick as the other by any means, but it is a sturdy bough for all that. Stevenson and Kipling have proved its immense popularity, with the whole brood of detective stories and the tales of successful rascality we call "picaresque" Our most popular weekly shows the broad appeal of this class of fiction.

All these tales of adventure, of struggle and difficulty; of hunting and fishing and fighting; of robbing and murdering, catching and punishing, are distinctly and essentially masculine. They do not touch on human processes, social processes, but on the special field of predatory excitement so long the sole province of men.

It is to be noted here that even in the overwhelming rise of industrial interests to-day, these, when used as the basis for a story, are forced into line with one, or both, of these two main branches of fiction;—conflict or love. Unless the story has one of these "interests" in it, there is no story—so holds the editor; the dictum being, put plainly, "life has no interests except conflict and love!"

It is surely something more than a coincidence that these are the two essential features of masculinity—Desire and Combat—Love and War.

As a matter of fact the major interests of life are in line with its major processes; and these—in our stage of human development—are more varied than our fiction would have us believe. Half the world consists of women, we should remember, who are types of human life as well as men, and their major processes are not those of conflict and adventure, their love means more than mating. Even on so poor a line of distinction as the "woman's column" offers, if women are to be kept to their four Ks, there should be a "men's column" also; and all the "sporting news" and fish stories be put in that; they are not world interests; they are male interests.

Now for the main branch—the Love Story. Ninety per cent. of fiction is In this line; this is preeminently the major interest of life—given in fiction. What is the love-story, as rendered by this art?

It is the story of the pre-marital struggle. It is the Adventures of Him in Pursuit of Her—and it stops when he gets her! Story after story, age after age, over and over and over, this ceaseless repetition of the Preliminaries.

Here is Human Life. In its large sense, its real sense, it is a matter of inter-relation between individuals and groups, covering all emotions, all processes, all experiences. Out of this vast field of human life fiction arbitrarily selects one emotion, one process, one experience, as its necessary base.

"Ah! but we are persons most of all!" protests the reader. "This is personal experience—it has the universal appeal!"

Take human life personally then. Here is a Human Being, a life, covering some seventy years; involving the changing growth of many faculties; the ever new marvels of youth, the long working time of middle life, the slow ripening of age. Here is the human soul, in the human body, Living. Out of this field of personal life, with all of its emotions, processes, and experiences, fiction arbitrarily selects one emotion, one process, one experience, mainly of one sex.

The "love" of our stories is man's love of woman. If any dare dispute this, and say it treats equally of woman's love for man, I answer, "Then why do the stories stop at marriage?"

There is a current jest, revealing much, to this effect:

The young wife complains that the husband does not wait upon and woo her as he did before marriage; to which he replies, "Why should I run after the street-car when I've caught it?"

Woman's love for man, as currently treated in fiction is largely a reflex; it is the way he wants her to feel, expects her to feel; not a fair representation of how she does feel. If "love" is to be selected as the most important thing in life to write about, then the mother's love should be the principal subject: This is the main stream. This is the general underlying, world-lifting force. The "life-force," now so glibly chattered about, finds its fullest expression in motherhood; not in the emotions of an assistant in the preliminary stages.

What has literature, what has fiction, to offer concerning mother-love, or even concerning father-love, as compared to this vast volume of excitement about lover-love? Why is the search-light continually focussed upon a two or three years space of life "mid the blank miles round about?" Why indeed, except for the clear reason, that on a starkly masculine basis this is his one period of overwhelming interest and excitement.

If the beehive produced literature, the bee's fiction would be rich and broad; full of the complex tasks of comb-building and filling; the care and feeding of the young, the guardian-service of the queen; and far beyond that it would spread to the blue glory of the summer sky, the fresh winds, the endless beauty and sweetness of a thousand thousand flowers. It would treat of the vast fecundity of motherhood, the educative and selective processes of the group-mothers; and the passion of loyalty, of social service, which holds the hive together.

But if the drones wrote fiction, it would have no subject matter save the feasting of many; and the nuptial flight, of one.

To the male, as such, this mating instinct is frankly the major interest of life; even the belligerent instincts are second to it. To the female, as such, it is for all its intensity, but a passing interest. In nature's economy, his is but a temporary devotion, hers the slow processes of life's fulfillment.

In Humanity we have long since, not outgrown, but overgrown, this stage of feeling. In Human Parentage even the mother's share begins to pale beside that ever-growing Social love and care, which guards and guides the children of to-day.

The art of literature in this main form of fiction is far too great a thing to be wholly governed by one dominant note. As life widened and intensified, the artist, if great enough, has transcended sex; and in the mightier works of the real masters, we find fiction treating of life, life in general, in all its complex relationships, and refusing to be held longer to the rigid canons of an androcentric past.

This was the power of Balzac—he took in more than this one field. This was the universal appeal of Dickens; he wrote of people, all kinds of people, doing all kinds of things. As you recall with pleasure some preferred novel of this general favorite, you find yourself looking narrowly for the "love story" in it. It is there—for it is part of life; but it does not dominate the whole scene—any more than it does in life.

The thought of the world is made and handed out to us in the main. The makers of books are the makers of thoughts and feelings for people in general. Fiction is the most popular form in which this world-food is taken. If it were true, it would teach us life easily, swiftly, truly; teach not by preaching but by truly re-presenting; and we should grow up becoming acquainted with a far wider range of life in books than could even be ours in person. Then meeting life in reality we should be wise—and not be disappointed.

As it is, our great sea of fiction is steeped and dyed and flavored all one way. A young man faces life—the seventy year stretch, remember, and is given book upon book wherein one set of feelings is continually vocalized and overestimated. He reads forever of love, good love and bad love, natural and unnatural, legitimate and illegitimate; with the unavoidable inference that there is nothing else going on.

If he is a healthy young man he breaks loose from the whole thing, despises "love stories" and takes up life as he finds it. But what impression he does receive from fiction is a false one, and he suffers without knowing it from lack of the truer broader views of life it failed to give him.

A young woman faces life—the seventy year stretch remember; and is given the same books—with restrictions. Remember the remark of Rochefoucauld, "There are thirty good stories in the world and twenty-nine cannot be told to women." There is a certain broad field of literature so grossly androcentric that for very shame men have tried to keep it to themselves. But in a milder form, the spades all named teaspoons, or at the worst appearing as trowels—the young woman is given the same fiction. Love and love and love—from "first sight" to marriage. There it stops—just the fluttering ribbon of announcement, "and lived happily ever after."

Is that kind of fiction any sort of picture of a woman's life? Fiction, under our androcentric culture, has not given any true picture of woman's life, very little of human life, and a disproportioned section of man's life.

As we daily grow more human, both of us, this noble art is changing for the better so fast that a short lifetime can mark the growth. New fields are opening and new laborers are working in them. But it is no swift and easy matter to disabuse the race mind from attitudes and habits inculcated for a thousand years. What we have been fed upon so long we are well used to, what we are used to we like, what we like we think is good and proper.

The widening demand for broader, truer fiction is disputed by the slow racial mind: and opposed by the marketers of literature on grounds of visible self-interest, as well as lethargic conservatism.

It is difficult for men, heretofore the sole producers and consumers of literature; and for women, new to the field, and following masculine canons because all the canons were masculine; to stretch their minds to a recognition of the change which is even now upon us.

This one narrow field has been for so long overworked, our minds are so filled with heroes and heroes continually repeating the one-act play, that when a book like David Harum is offered the publisher refuses it repeatedly, and finally insists on a "heart interest" being injected by force.

Did anyone read David Harum for that heart interest? Does anyone remember that heart interest? Has humanity no interests but those of the heart?

Robert Ellesmere was a popular book—but not because of its heart interest.

Uncle Tom's Cabin appealed to the entire world, more widely than any work of fiction that was ever written; but if anybody fell in love and married in it they have been forgotten. There was plenty of love in that book, love of family, love of friends, love of master for servant and servant for master; love of mother for child; love of married people for each other; love of humanity and love of God.

It was extremely popular. Some say it was not literature. That opinion will live, like the name of Empedocles.

The art of fiction is being re-born in these days. Life is discovered to be longer, wider, deeper, richer, than these monotonous players of one June would have us believe.

The humanizing of woman of itself opens five distinctly fresh fields of fiction: First the position of the young woman who is called upon to give up her "career"—her humanness—for marriage, and who objects to it; second, the middle-aged woman who at last discovers that her discontent is social starvation—that it is not more love that she wants, but more business in life: Third the interrelation of women with women—a thing we could never write about before because we never had it before: except in harems and convents: Fourth the inter-action between mothers and children; this not the eternal "mother and child," wherein the child is always a baby, but the long drama of personal relationship; the love and hope, the patience and power, the lasting joy and triumph, the slow eating disappointment which must never be owned to a living soul—here are grounds for novels that a million mothers and many million children would eagerly read: Fifth the new attitude of the full-grown woman who faces the demands of love with the high standards of conscious motherhood.

There are other fields, broad and brilliantly promising, but this chapter is meant merely to show that our one-sided culture has, in this art, most disproportionately overestimated the dominant instincts of the male—Love and War—an offense against art and truth, and an injury to life.



WATER-LURE

We who were born of water, in the warm slow ancient years, Love it to-day for all we pay Of terror and loss and tears.

The child laughs loud at the fountain, laughs low in the April rain, And the sea's bright brim is a lure to him Where a lost life lives again.



COMMENT AND REVIEW

In a recent number of a leading "woman's" periodical is a disquisition on love—a girl's ideals of love, based on Elaine and the Sleeping Beauty.

This is a serious matter surely. Love being an essential preliminary to the best parenthood, and the major element of personal happiness, is a most commanding subject; and as the woman is the most important factor in both lines, her ideals are worth discussing.

We note that the author says "girl" instead of woman; but as boys and girls do have ideals they too are worth considering. What are these ideals as discussed in this worthy periodical?

We are told that the girl is often unfit to meet "the big grave questions of love itself;" and "to make sure that she has these ideals from the highest sources."

"What are these sources?" pursues this sagacious monitor; and then she offers—"fairy tales and old romance." For ideals of love—here—in America to-day—we are referred to Grimm's Marchen; to Cinderella, the Goose Girl, Beauty and the Beast, and the Sleeping Beauty! Various heroines of mythology and fiction are adduced, and the crowning type of all is Elaine, The Lily Maid of Astolat.

A careful reading of fairy tales, however worthy, does not seem to throw much light on the problems of marriage; and right marriage is what all this love and its ideals are for. Here is a matter calling for the widest knowledge, the noblest purpose, the highest principles, the most practical action; a matter concerning not only the private happiness of two persons, but the lives of several others; a matter not only of individual appeal, but of the very broadest social duty; and for its ideals we are referred to old fairy tales!

The Sleeping Beauty is a most happy instance of woman's right attitude toward love and marriage—she is to remain starkly unconscious, using absolutely no discretion; and cheerfully marry the first man that kisses her! In the fairy story he was a noble prince—but the average sleeping beauty of to-day is often waked up by the wrong man!

Sometimes she is married first, and wakes up afterward; like the lady in Lear's limerick:

"There a an old man of Jamaica, Who suddenly married a Quaker. But she cried out, "O Lack! I have married a Black!" Which grieved that old man of Jamaica."

How does Elaine answer as an ideal? Almost as well as the Sleeping Beauty. Ignorance absolute; instant surrender to the first man appearing; no shadow of inquiry as to his being married or single; much less as to his morals. Then the apotheosis of the tidy-making instinct—embroidering a cover for a steel shield! a thing meant to bear the hardest kind of blows, made for that purpose, and she so afraid it will get "rust or soilure" that she constructs this decorated case for it.

Then the going forth to nurse her wounded hero, and the ingenuous proposal, when he offers to requite her.

Being refused, what then? Any thought of her duty in the world? Of her two good brothers? Of her aged father—very fond of her too, that old father? Not the slightest. Not even a glimmer of purpose to live on—if her love was so wonderful, and be of some use to the great man, by and by.

Nothing but herself. "I want something! I can't have it! I will die!"—and die she did, of set purpose, by a sort of flabby suicide; making the most careful arrangements for a spectacular funeral barge, and a letter that should wring the heart of the obdurate man.

Well, I can remember when I cried over it—at about thirteen. It does appeal to girls; but is it therefore an ideal to be held up as a High Source and followed?

It is time and more than time for us to recognize that marriage is for men and women, not girls and boys; that "love" is not a rosy dream but a responsible undertaking, with consequences; that no true ideals of love can be formed without full recognition of its purpose.

*

A thin small book of verse, a booklet, called "Philemon's Verses," from The Evergreen Press, Montrose, Pa., has been sent me for review.

Now I have a theory of my own in regard to what we are pleased to call "minor poets"; namely, that poetry is a natural form of expression to most human beings, and should be used as such.

Why do we imagine that the best method of ensuring our output of poetry is to have a few huge monoliths of poets—and no more? Is the great poet surer of recognition, safer in his unparalleled superiority because there is nothing between him and the unpoetical? Is a vast audience of the dumb and verseless, who do not care enough for poetry to write any of it, the best for the great poet?

According to my theory there is as much room for short-distance poetry as for the kind that rings around the world for centuries.

As I look over this small collection, I am impressed most with its clear sincerity, in feeling and expression. These verses are not cooked—they grew.

Then I feel anew the range of interests of the modern singer—so swiftly widening, so intensely human, and yet so sympathetic with nature. Democracy in literature is a good thing; not only in subject matter but in universal participation.

So that the contribution be genuine, the real speech of an honest soul, it has its own place in the literature of the day; and that is evidently the case with Philemon's Verses.

*

"The Lords of High Decision" is a title more high-sounding than descriptive. If the story had been called "The Slaves of Low Decision" it would be more recognizable.

Here is a man who wabbles through some thirty years of life without coming to any decision at all; a woman who at no time had any decision; another who decided wrong, then right, then wrong again, and was finally let out by an accident; a first-class pitcher who gives up his chosen field to be a chauffeur and general attache of the wabbler, and finally loses his life to save another man—perhaps he was a Lord of High Decision.

Perhaps Paddock, the settlement-running clergyman was. Or Walsh,—the suppressed parent. Colonel Craighill, the father of the Wabbler, is well drawn, evidently from nature.

A highly Episcopalian attitude toward divorce is taken; the heroine, who has been for some years free of a husband casually married in youth, is led to see her duty in going back to him; even though she deeply loves another man. As her ex-husband has more sense than she, he refuses to accept this living sacrifice. She succeeds in giving up something, however, for her lover, a man of considerable wealth, makes his proposal in this wise:

"I know I ask a great deal when I ask you to give up your work for me—and yet I ask it. Remember, there is no gratitude in this—you are a woman, and I am a man—and I love you."

Poor girl! She has struggled through poverty, a broken marriage, long years of valiant endeavor for this work of hers; it was the innocent and easily domesticated task of drawing children's faces—she was an illustrator. Yet the first thing her "lover" does, in the very height of his new virtue, in the very act of offering himself, is to assume as a matter of course that she would give it up. And she did—for this Lord of High Decision.

"The Lords of High Decision," by Meredith Nicholson. Doubleday, Page & Co. $1.50.



PERSONAL PROBLEMS

Here is a "Personal" of distinct interest.

May it reach its mark!

"WANTED:

"By a Socialist woman of mature years, a congenial person of similar sex, education and tastes to share with her the expense of a country home in the mountains, and the study—as far as may be agreeable—of nature, music, literature, sociology and socialism. No objection to Suffragette or Vegetarian, but advocates of Anarchism or Free Love are hereby contra-indicated. Credentials to be frankly exchanged with personal history. Address: The Widow Baucis, Care of The Forerunner, 67 Wall St., New York City."

*

Apropos of the above, there are no more intimate and pressing problems than those of the business of living, the mere every day processes.

We are still so hampered by the customs and habits of the proprietary family that we assume as a matter of course that one must live, first, in childhood and youth, with one's parental family; second, in middle life, with one's matrimonial family; and third in age, with one's descendants.

Now suppose one is of age, unmarried, and not fond of living with one's parents. This is not wicked. It is not extremely unusual. One may be very fond of one's parents, as parents, yet prefer other society in daily life. Enforced residence in the same home of a number of grown people of widely different ages, interests, and ideas, is not made happy by the fact of blood-relationship.