St. Paul daily globe., 1893-04-19

There is one phase of mans admira-
ticn for women, Of rather the express
sion. that is always apuzzle to thinking
women, and that is that he expresses
admiration for every trait that is
admirable, except her good sense and
practical ability, and yet he expects her
when once she is we'd to be the wiSest
ard most efficient Of creatures, good
housekeeper, home maker and mother.
4 writer in the Philadelphia Times has
this to say about it:
\ man was intently watching some
young women the other night as they
chatted and laughed and walked up and
down tie room. He was sitting in the
shadows, and they werein the midst of
an electric light glow. He could easily
see every change in the expression of
their cOuntenances and every movement
of their forms as they fitted from point
to point. Suddenly he turned toward
companion. saying:
Even pretty face cannot atone for
an utter lack of gracefulneSS. Anyhow,
winning ways are warranted to wear
we'll, but q lovely face without backing
don't wash worth cent"
Although his meaning was plain
enough, his expression OF 1t wasn't as
polished as might be.
But the declaration was somewhat
comforting.
Ofcoarse it isn't possible for the "Or-
dinary face" to become beautiful. how
ever much it may tone itself up to at
tractiventSS.
1t is. indeed, cOnsoling to know that
the average woman may be winning and
even fascinating by means OF her de-
meaEOr.
Isn't it good to rest assured that she
may win admiration without speaking
Nord?-she has only ''to act"
There are two classes of graceful
women. The grace of one is natural,
and that of the other Is acquired. 1t
goes without saving that the original"
is preferable. But the copy" is often
most cultured because it is the result of
study and practice.
There is an eXhilarating influence in
every poiSe and movement prompted by
Spontaneous gracetulness. I he entirely
cultivated sort is soothing in lis effects.
Did NOa ever observe ali unconscious
" graceful woman enter room? She
seems to float through space, her arms,
hands. feet and head all in eminently
prGner and alluring p0stures. Be her.
dress Of ruS,iiug Silken stuff, or cling
ing crepe and lace, or heavy velvet
stately IN It's outlines. or simple cam
bric-the fabric makes no difference, as
it is, in this ease, the woman who makes
tie dress. To set it forth more definite
Iy. ii il the way she wears her gown in
stead Of the garment itself that Is
vividly noticeable.
But. as the rude man said. ii woman
stumble and jostle and pause abruptly
and hitch her gown across the AXmln-
ster, be her face ever so exquisite in
contour and color, she creates, in the
hearts of her EehOlders. pity that is
not akin TO love.
II is an established fact that the Ori-
entail woman Of all cast3s is essentially
graceful. 1t may be that her manner of
garmenting has much to do with her
freedom and SmOOthneSS of movement.
She is reared in flowing draperies that
do not in the slightest degree hinder or
annoy physical action. She is depicted
to Us in advantageous circumstances.
We see her portrayed in sweeping robes,
reclining upon a couch, showing a beau
tifu outline of figure beneath folds OF
fabric. Those who have seen her walk
say that she does it with grace exceed
ing the trained gait of the European fair
one.
Is it exactly just to compare the Ian
guOrOus, loosely rCbed woman of the
East with the average everyday United
States type in her tailor-built gown?
And everybody knows that when it
comes TO question of usefulness" the
OrientaliSt isn't in it."
That idea OF ''usefulness" fetches this
department up to the line Of the man
critic again.
Why is it that he sat in the shadow
estimating a wOman's power ''tO catch
and to hold" according to her pretty
face and winning manners, with never
a word about her good sehse and her
practical worth?