The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1885-06-04
HOW WOMEN HAIL HORSE CARS.
The Severe, the Timid and the Theatrical
Woman Street Corners.

F1OW WOmEN E1tiG ElOFhOG NFNfNo.
The Severe. the Timid and the Theatrical
Woman Street Corners.
[OrginaLl
The different methods women employ to
stop horse cars would make a very reliable
index to their individual character. Atti-
tude, gesture facial expression, all are pro-
nounced in action of this kind with most Of
them.
The severe, long-faced woman is at the
corner while the car is yet afar off. She has
q deep grounded belief that it will do its best
to go by without taking her on, and that be-
lief makes her as grimly watchful as sem
tinel on duty She raises her arm almost as
soon as she can distinguish the figure of the
driver, and with her forefnger, takes deadly
aim at his eyes. Her face is written all over
with the workings of her mind, which at that
moment are peculiarly determined and ener-
eetic Palmer than words her countenance
speaks. Ii says: Pass me by at your peril"
On some drivers, the new and nervous ones,
this method of calling their attention has .
SCATTERING effect. But the old stagers mind
it not They pull up their horses without
moving a muscle of their faces. The woman
who commanded them to stop, so far as they
are concerned, might be an angel or demon.
The idea that the car viii pass without stop
ping is latent in the majority of women's
minds. This accounts for their extraordinary
earnestness and in accosting it. This
lack of confide horse car management
has cause istence, of course.
Women 9 overmuch haste gesticu-
late with both arms, much as if they were
signaling locomotive TO prevent destrue
ton Anxiety, even terror, paint their faces
with the colors of alarm. When the car does
stop they are certain in their own minds that
a single gesture less on their part would have
failed to bring it to halt. The fact that the
driver is employed to stop for passengers is
something they would scout as a wild and
senseless assertion.
Very young and very pretty women, who
have faith in the potency of their personal
appearance, pose on the corner and merely
incline their heads gracefully toward the
driver, certain that he as well all the
world, is eager to serve them. They carry
this atmosphere of self-satisfaction into the
car, where it is felt by the severe and the
nervous woman, who are already in. They
sigh as they silently reflect that there are
some disagreeable things for that young ladS
TO find out later on
The timid woman, young or old, always
has her heart in her mouth when she orders
car to stop. She feels that she is asserting
herself beyond the usual bounds, and the
thought makes her uncomfortable. Timid
persons are prone to self-consciousneSS, and
for the life of her the timid woman can't rid
her mind of the belief that everybody is
looking at her because she is so self-assertive.
The very stout woman has the worst time
of all She Is not constructed for exertions
of that kind, and as her movements are of
ne ,essity slow, and the driver always affects
haste and makes her feel his Impotence, she
is ant to get aboard a little out of temper.
The theatrical wOman-particularly the
! beginner, who moves and has her being with
imaginary footlights all around her-bids the
car stop with Neutrality-suspicious." ges-
ture, which surprises even the horses.
The humble woman of the basket and bun
die is sometimes pushing and sometimes hest
tating She knows that by reason of her ap-
pendages she will be unwelcome to conductor
and passengers, and the knowledge makes her
shy or defiant, in proportion to the sweetness
mr. bitterness of her nature.
If life was less desperate with street car
drivers they would see comedy lurking on
every corner in the person of some woman.
GERTRUDE GARRISON.
NEW YORK, Feb. IL.