Гарриет Бичер-Стоу
The Chimney-Corner
"It was John the Baptist, and not the Messiah, who dwelt in the wilderness and wore garments of camel's hair; and Jesus was commented on, not for his asceticism, but for his cheerful, social acceptance of the average innocent wants and enjoyments of humanity. 'The Son of man came eating and drinking.' The great, and never-ceasing, and utter self-sacrifice of his life was not signified by any peculiarity of costume, or language, or manner; it showed itself only as it unconsciously welled up in all his words and actions, in his estimates of life, in all that marked him out as a being of a higher and holier sphere."
"Then you do not believe in influencing this subject of dress by religious persons' adopting any particular laws of costume?" said Pheasant.
"I do not see it to be possible," said I, "considering how society is made up. There are such differences of taste and character, – people move in such different spheres, are influenced by such different circumstances, – that all we can do is to lay down certain great principles, and leave it to every one to apply them according to individual needs."
"But what are these principles? There is the grand inquiry."
"Well," said I, "let us feel our way. In the first place, then, we are all agreed in one starting-point, – that beauty is not to be considered as a bad thing, – that the love of ornament in our outward and physical life is not a sinful or a dangerous feeling, and only leads to evil, as all other innocent things do, by being used in wrong ways. So far we are all agreed, are we not?"
"Certainly," said all the voices.
"It is, therefore, neither wicked nor silly nor weak-minded to like beautiful dress, and all that goes to make it up. Jewelry, diamonds, pearls, emeralds, rubies, and all sorts of pretty things that are made of them, are as lawful and innocent objects of admiration and desire, as flowers or birds or butterflies, or the tints of evening skies. Gems, in fact, are a species of mineral flower; they are the blossoms of the dark, hard mine; and what they want in perfume they make up in durability. The best Christian in the world may, without the least inconsistency, admire them, and say, as a charming, benevolent old Quaker lady once said to me, 'I do so love to look at beautiful jewelry!' The love of beautiful dress, in itself, therefore, so far from being in a bad sense worldly, may be the same indication of a refined and poetical nature that is given by the love of flowers and of natural objects.
"In the third place, there is nothing in itself wrong, or unworthy a rational being, in a certain degree of attention to the fashion of society in our costume. It is not wrong to be annoyed at unnecessary departures from the commonly received practices of good society in the matter of the arrangement of our toilet; and it would indicate rather an unamiable want of sympathy with our fellow-beings, if we were not willing, for the most part, to follow what they indicate to be agreeable in the disposition of our outward affairs."
"Well, I must say, Mr. Crowfield, you are allowing us all a very generous margin," said Humming-Bird.
"But, now," said I, "I am coming to the restrictions. When is love of dress excessive and wrong? To this I answer by stating my faith in one of old Plato's ideas, in which he speaks of beauty and its uses. He says there were two impersonations of beauty worshipped under the name of Venus in the ancient times, – the one celestial, born of the highest gods, the other earthly. To the earthly Venus the sacrifices were such as were more trivial; to the celestial, such as were more holy. 'The worship of the earthly Venus,' he says, 'sends us oftentimes on unworthy and trivial errands, but the worship of the celestial to high and honorable friendships, to noble aspirations and heroic actions.'
"Now it seems to me that, if we bear in mind this truth in regard to beauty, we shall have a test with which to try ourselves in the matter of physical adornment. We are always excessive when we sacrifice the higher beauty to attain the lower one. A woman who will sacrifice domestic affection, conscience, self-respect, honor, to love of dress, we all agree, loves dress too much. She loses the true and higher beauty of womanhood for the lower beauty of gems and flowers and colors. A girl who sacrifices to dress all her time, all her strength, all her money, to the neglect of the cultivation of her mind and heart, and to the neglect of the claims of others on her helpfulness, is sacrificing the higher to the lower beauty. Her fault is not the love of beauty, but loving the wrong and inferior kind.
"It is remarkable that the directions of Holy Writ, in regard to the female dress, should distinctly take note of this difference between the higher and the lower beauty which we find in the works of Plato. The Apostle gives no rule, no specific costume, which should mark the Christian woman from the Pagan; but says, 'whose adorning, let it not be that outward adorning of plaiting the hair, and of wearing of gold, or of putting on of apparel; but let it be the hidden man of the heart, in that which is not corruptible, even the ornament of a meek and quiet spirit, which is in the sight of God of great price.' The gold and gems and apparel are not forbidden; but we are told not to depend on them for beauty, to the neglect of those imperishable, immortal graces that belong to the soul. The makers of fashion among whom Christian women lived when the Apostle wrote were the same class of brilliant and worthless Aspasias who make the fashions of modern Paris; and all womankind was sunk into slavish adoration of mere physical adornment when the Gospel sent forth among them this call to the culture of a higher and immortal beauty.
"In fine, girls," said I, "you may try yourselves by this standard. You love dress too much when you care more for your outward adornings than for your inward dispositions, – when it afflicts you more to have torn your dress than to have lost your temper, – when you are more troubled by an ill-fitting gown than by a neglected duty, – when you are less concerned at having made an unjust comment, or spread a scandalous report, than at having worn a passée bonnet, – when you are less troubled at the thought of being found at the last great feast without the wedding garment, than at being found at the party to-night in the fashion of last year. No Christian woman, as I view it, ought to give such attention to her dress as to allow it to take up all of three very important things, viz.: —
All her time.
All her strength.
All her money.
Whoever does this lives not the Christian, but the Pagan life, – worships not at the Christian's altar of our Lord Jesus, but at the shrine of the lower Venus of Corinth and Rome."
"O now, Mr. Crowfield, you frighten me," said Humming-Bird. "I'm so afraid, do you know, that I am doing exactly that."
"And so am I," said Pheasant; "and yet, certainly, it is not what I mean or intend to do."
"But how to help it," said Dove.
"My dears," said I, "where there is a will there is a way. Only resolve that you will put the true beauty first, – that, even if you do have to seem unfashionable, you will follow the highest beauty of womanhood, – and the battle is half gained. Only resolve that your time, your strength, your money, such as you have, shall not all – nor more than half – be given to mere outward adornment, and you will go right. It requires only an army of girls animated with this noble purpose to declare independence in America, and emancipate us from the decrees and tyrannies of French actresses and ballet-dancers. En avant, girls! You yet can, if you will, save the republic."
X.
WHAT ARE THE SOURCES OF BEAUTY IN DRESS
The conversation on dress which I had held with Jennie and her little covey of Birds of Paradise appeared to have worked in the minds of the fair council, for it was not long before they invaded my study again in a body. They were going out to a party, but called for Jennie, and of course gave me and Mrs. Crowfield the privilege of seeing them equipped for conquest.
Latterly, I must confess, the mysteries of the toilet rites have impressed me with a kind of superstitious awe. Only a year ago my daughter Jennie had smooth dark hair, which she wreathed in various soft, flowing lines about her face, and confined in a classical knot on the back of her head. Jennie had rather a talent for coiffure, and the arrangement of her hair was one of my little artistic delights. She always had something there, – a leaf, a spray, a bud or blossom, that looked fresh, and had a sort of poetical grace of its own.
But in a gradual way all this has been changing. Jennie's him first became slightly wavy, then curly, finally frizzly, presenting a tumbled and twisted appearance, which gave me great inward concern; but when I spoke upon the subject I was always laughingly silenced with the definitive settling remark: "O, it's the fashion, papa! Everybody wears it so."
I particularly objected to the change on my own small account, because the smooth, breakfast-table coiffure, which I had always so much enjoyed, was now often exchanged for a peculiarly bristling appearance; the hair being variously twisted, tortured, woven, and wound, without the least view to immediate beauty or grace. But all this, I was informed, was the necessary means towards crimping for some evening display of a more elaborate nature than usual.
Mrs. Crowfield and myself are not party-goers by profession, but Jennie insists on our going out at least once or twice in a season, just, as she says, to keep up with the progress of society; and at these times I have been struck with frequent surprise by the general untidiness which appeared to have come over the heads of all my female friends. I know, of course, that I am only a poor, ignorant, bewildered man-creature; but to my uninitiated eyes they looked as if they had all, after a very restless and perturbed sleep, come out of bed without smoothing their tumbled and disordered locks. Then, every young lady, without exception, seemed to have one kind of hair, and that the kind which was rather suggestive of the term woolly. Every sort of wild abandon of frowzy locks seemed to be in vogue; in some cases the hair appearing to my vision nothing but a confused snarl, in which glittered tinklers, spangles, and bits of tinsel, and from which waved long pennants and streamers of different-colored ribbons.
I was in fact very greatly embarrassed by my first meeting with some very charming girls, whom I thought I knew as familiarly as my own daughter Jennie, and whose soft, pretty hair had often formed the object of my admiration. Now, however, they revealed themselves to me in coiffures which forcibly reminded me of the electrical experiments which used to entertain us in college, when the subject stood on the insulated stool, and each particular hair of his head bristled and rose, and set up, as it were, on its own account. This high-flying condition of the tresses, and the singularity of the ornaments which appeared to be thrown at hap-hazard into them, suggested so oddly the idea of a bewitched person, that I could scarcely converse with any presence of mind, or realize that these really were the nice, well-informed, sensible little girls of my own neighborhood, – the good daughters, good sisters, Sunday-school teachers, and other familiar members of our best educated circles; and I came away from the party in a sort of blue maze, and hardly in a state to conduct myself with credit in the examination through which I knew Jennie would put me as to the appearance of her different friends.
I know not how it is, but the glamour of fashion in the eyes of girlhood is so complete, that the oddest, wildest, most uncouth devices find grace and favor in the eyes of even well-bred girls, when once that invisible, ineffable aura has breathed over them which declares them to be fashionable. They may defy them for a time, – they may pronounce them horrid; but it is with a secretly melting heart, and with a mental reservation to look as nearly like the abhorred spectacle as they possibly can on the first favorable opportunity.
On the occasion of the visit referred to, Jennie ushered her three friends in triumph into my study; and, in truth, the little room seemed to be perfectly transformed by their brightness. My honest, nice, lovable little Yankee-fireside girls were, to be sure, got up in a style that would have done credit to Madame Pompadour, or any of the most questionable characters of the time of Louis XIV. or XV. They were frizzled and powdered, and built up in elaborate devices; they wore on their hair flowers, gems, streamers, tinklers, humming-birds, butterflies, South American beetles, beads, bugles, and all imaginable rattle-traps, which jingled and clinked with every motion; and yet, as they were three or four fresh, handsome, intelligent, bright-eyed girls, there was no denying the fact that they did look extremely pretty; and as they sailed hither and thither before me, and gazed down upon me in the saucy might of their rosy girlhood, there was a gay defiance in Jennie's demand, "Now, papa, how do you like us?"
"Very charming," answered I, surrendering at discretion.
"I told you, girls, that you could convert him to the fashions, if he should once see you in party trim."
"I beg pardon, my dear; I am not converted to the fashion, but to you, and that is a point on which I didn't need conversion; but the present fashions, even so fairly represented as I see them, I humbly confess I dislike."
"O Mr. Crowfield!"
"Yes, my dears, I do. But then, I protest, I'm not fairly treated. I think, for a young American girl, who looks as most of my fair friends do look, to come down with her bright eyes and all her little panoply of graces upon an old fellow like me, and expect him to like a fashion merely because she looks well in it, is all sheer nonsense. Why, girls, if you wore rings in your noses, and bangles on your arms up to your elbows, if you tied your hair in a war-knot on the top of your heads like the Sioux Indians, you would look pretty still. The question isn't, as I view it, whether you look pretty, – for that you do, and that you will, do what you please and dress how you will. The question is whether you might not look prettier, whether another style of dress, and another mode of getting up, would not be far more becoming. I am one who thinks that it would."
"Now, Mr. Crowfield, you positively are too bad," said Humming-Bird, whose delicate head was encircled by a sort of crapy cloud of bright hair, sparkling with gold-dust and spangles, in the midst of which, just over her forehead, a gorgeous blue butterfly was perched, while a confused mixture of hairs, gold-powder, spangles, stars, and tinkling ornaments fell in a sort of cataract down her pretty neck. "You see, we girls think everything of you; and now we don't like it that you don't like our fashions."
"Why, my little princess, so long as I like you better than your fashions, and merely think they are not worthy of you, what's the harm?"
"O yes, to be sure. You sweeten the dose to us babies with that sugar-plum. But really, Mr. Crowfield, why don't you like the fashions?"
"Because, to my view, they are in great part in false taste, and injure the beauty of the girls," said I. "They are inappropriate to their characters, and make them look like a kind and class of women whom they do not, and I trust never will, resemble internally, and whose mark therefore they ought not to bear externally. But there you are, beguiling me into a sermon which you will only hate me in your hearts for preaching. Go along, children! You certainly look as well as anybody can in that style of getting up; so go to your party, and to-morrow night, when you are tired and sleepy, if you'll come with your crochet, and sit in my study, I will read you Christopher Crowfield's dissertation on dress."
"That will be amusing, to say the least," said Humming-Bird; "and, be sure, we will all be here. And mind, you have to show good reasons for disliking the present fashion."
So the next evening there was a worsted party in my study, sitting in the midst of which I read as follows:
"WHAT ARE THE SOURCES OF BEAUTY IN DRESS
"The first one is appropriateness. Colors and forms and modes, in themselves graceful or beautiful, can become ungraceful and ridiculous simply through inappropriateness. The most lovely bonnet that the most approved modiste can invent, if worn on the head of a coarse-faced Irishwoman bearing a market-basket on her arm, excites no emotion but that of the ludicrous. The most elegant and brilliant evening dress, if worn in the daytime in a railroad car, strikes every one with a sense of absurdity; whereas both these objects in appropriate associations would excite only the idea of beauty. So, a mode of dress obviously intended for driving strikes us as outré in a parlor; and a parlor dress would no less shock our eyes on horseback. In short, the course of this principle through all varieties of form can easily be perceived. Besides appropriateness to time, place, and circumstances, there is appropriateness to age, position, and character. This is the foundation of all our ideas of professional propriety in costume. One would not like to see a clergyman in his external air and appointments resembling a gentleman of the turf; one would not wish a refined and modest scholar to wear the outward air of a fast fellow, or an aged and venerable statesman to appear with all the peculiarities of a young dandy. The flowers, feathers, and furbelows which a light-hearted young girl of seventeen embellishes by the airy grace with which she wears them, are simply ridiculous when transferred to the toilet of her serious, well-meaning mamma, who bears them about with an anxious face, merely because a loquacious milliner has assured her, with many protestations, that it is the fashion, and the only thing remaining for her to do.
"There are, again, modes of dress in themselves very beautiful and very striking, which are peculiarly adapted to theatrical representation and to pictures, but the adoption of which as a part of unprofessional toilet produces a sense of incongruity. A mode of dress may be in perfect taste on the stage, that would be absurd in an evening party, absurd in the street, absurd, in short, everywhere else.
"Now you come to my first objection to our present American toilet, – its being to a very great extent inappropriate to our climate, to our habits of life and thought, and to the whole structure of ideas on which our life is built. What we want, apparently, is some court of inquiry and adaptation that shall pass judgment on the fashions of other countries, and modify them to make them a graceful expression of our own national character, and modes of thinking and living. A certain class of women in Paris at this present hour makes the fashions that rule the feminine world. They are women who live only for the senses, with as utter and obvious disregard of any moral or intellectual purpose to be answered in living as a paroquet or a macaw. They have no family ties; love, in its pure domestic sense, is an impossibility in their lot; religion in any sense is another impossibility; and their whole intensity of existence, therefore, is concentrated on the question of sensuous enjoyment, and that personal adornment which is necessary to secure it. When the great, ruling country in the world of taste and fashion has fallen into such a state that the virtual leaders of fashion are women of this character, it is not to be supposed that the fashions emanating from them will be of a kind well adapted to express the ideas, the thoughts, the state of society, of a great Christian democracy such as ours ought to be.
"What is called, for example, the Pompadour style of dress, so much in vogue of late, we can see to be perfectly adapted to the kind of existence led by dissipated women, whose life is one revel of excitement; and who, never proposing to themselves any intellectual employment or any domestic duty, can afford to spend three or four hours every day under the hands of a waiting-maid, in alternately tangling and untangling their hair. Powder, paint, gold-dust and silver-dust, pomatums, cosmetics, are all perfectly appropriate where the ideal of life is to keep up a false show of beauty after the true bloom is wasted by dissipation. The woman who never goes to bed till morning, who never even dresses herself, who never takes a needle in her hand, who never goes to church, and never entertains one serious idea of duty of any kind, when got up in Pompadour style, has, to say the truth, the good taste and merit of appropriateness. Her dress expresses just what she is, – all false, all artificial, all meretricious and unnatural; no part or portion of her from which it might be inferred what her Creator originally designed her to be.
"But when a nice little American girl, who has been brought up to cultivate her mind, to refine her taste, to care for her health, to be a helpful daughter and a good sister, to visit the poor and teach in Sunday schools; when a good, sweet, modest little puss of this kind combs all her pretty hair backward till it is one mass of frowzy confusion; when she powders, and paints under her eyes; when she adopts, with eager enthusiasm, every outré, unnatural fashion that comes from the most dissipated foreign circles, – she is in bad taste, because she does not represent either her character, her education, or her good points. She looks like a second-rate actress, when she is, in fact, a most thoroughly respectable, estimable, lovable little girl, and on the way, as we poor fellows fondly hope, to bless some one of us with her tenderness and care in some nice home in the future.
"It is not the fashion in America for young girls to have waiting-maids, – in foreign countries it is the fashion. All this meretricious toilet – so elaborate, so complicated, and so contrary to nature – must be accomplished, and is accomplished, by the busy little fingers of each girl for herself; and so it seems to be very evident that a style of hair-dressing which it will require hours to disentangle, which must injure and in time ruin the natural beauty of the hair, ought to be one thing which a well-regulated court of inquiry would reject in our American fashions.
"Again, the genius of American, life is for simplicity and absence of ostentation. We have no parade of office; our public men wear no robes, no stars, garters, collars, &c.; and it would, therefore, be in good taste in our women to cultivate simple styles of dress. Now I object to the present fashions, as adopted from France, that they are flashy and theatrical. Having their origin with a community whose senses are blunted, drugged, and deadened with dissipation and ostentation, they reject the simpler forms of beauty, and seek for startling effects, for odd and unexpected results. The contemplation of one of our fashionable churches, at the hour when its fair occupants pour forth, gives one a great deal of surprise. The toilet there displayed might have been in good keeping among showy Parisian women in an opera-house; but even their original inventors would have been shocked at the idea of carrying them into a church. The rawness of our American mind as to the subject of propriety in dress is nowhere more shown than in the fact that no apparent distinction is made between church and opera-house in the adaptation of attire. Very estimable, and, we trust, very religious young women sometimes enter the house of God in a costume which makes their utterance of the words of the litany and the acts of prostrate devotion in the service seem almost burlesque. When a brisk little creature comes into a pew with hair frizzed till it stands on end in a most startling manner, rattling strings of beads and bits of tinsel, mounting over all some pert little hat with a red or green feather standing saucily upright in front, she may look exceedingly pretty and piquante; and, if she came there for a game of croquet or a tableau-party, would be all in very good taste; but as she comes to confess that she is a miserable sinner, that she has done the things she ought not to have done and left undone the things she ought to have done, – as she takes upon her lips most solemn and tremendous words, whose meaning runs far beyond life into a sublime eternity, – there is a discrepancy which would be ludicrous if it were not melancholy.
"One is apt to think, at first view, that St. Jerome was right in saying,
'She who comes in glittering veil
To mourn her frailty, still is frail.'
But St. Jerome was in the wrong, after all; for a flashy, unsuitable attire in church is not always a mark of an undevout or entirely worldly mind; it is simply a mark of a raw, uncultivated taste. In Italy, the ecclesiastical law prescribing a uniform black dress for the churches gives a sort of education to European ideas of propriety in toilet, which prevents churches from being made theatres for the same kind of display which is held to be in good taste at places of public amusement. It is but justice to the inventors of Parisian fashions to say, that, had they ever had the smallest idea of going to church and Sunday school, as our good girls do, they would immediately have devised toilets appropriate to such exigencies. If it were any part of their plan of life to appear statedly in public to confess themselves 'miserable sinners,' we should doubtless have sent over here the design of some graceful penitential habit, which would give our places of worship a much more appropriate air than they now have. As it is, it would form a subject for such a court of inquiry and adaptation as we have supposed, to draw a line between the costume of the theatre and the church.
"In the same manner, there is a want of appropriateness in the costume of our American women, who display in the street promenade a style of dress and adornment originally intended for showy carriage drives in such great exhibition grounds as the Bois de Boulogne. The makers of Parisian fashions are not generally walkers. They do not, with all their extravagance, have the bad taste to trail yards of silk and velvet over the mud and dirt of a pavement, or promenade the street in a costume so pronounced and striking as to draw the involuntary glance of every eye; and the showy toilets displayed on the pavé by American young women have more than once exposed them to misconstruction in the eyes of foreign observers.
"Next to appropriateness, the second requisite to beauty in dress I take to be unity of effect. In speaking of the arrangement of rooms in the 'House and Home Papers,' I criticised some apartments wherein were many showy articles of furniture, and much expense had been incurred, because, with all this, there was no unity of result. The carpet was costly, and in itself handsome; the paper was also in itself handsome and costly; the tables and chairs also in themselves very elegant; and yet, owing to a want of any unity of idea, any grand harmonizing tint of color, or method of arrangement, the rooms had a jumbled, confused air, and nothing about them seemed particularly pretty or effective. I instanced rooms where thousands of dollars had been spent, which, because of this defect, never excited admiration; and others in which the furniture was of the cheapest description, but which always gave immediate and universal pleasure. The same rule holds good in dress. As in every apartment, so in every toilet, there should be one ground tone or dominant color, which should rule all the others, and there should be a general style of idea to which everything should be subjected.
"We may illustrate the effect of this principle in a very familiar case. It is generally conceded that the majority of women look better in mourning than they do in their ordinary apparel; a comparatively plain person looks almost handsome in simple black. Now why is this? Simply because mourning requires a severe uniformity of color and idea, and forbids the display of that variety of colors and objects which go to make up the ordinary female costume, and which very few women have such skill in using as to produce really beautiful effects.
"Very similar results have been attained by the Quaker costume, which, in spite of the quaint severity of the forms to which it adhered, has always had a remarkable degree of becomingness, because of its restriction to a few simple colors and to the absence of distracting ornament.
"But the same effect which is produced in mourning or the Quaker costume may be preserved in a style of dress admitting color and ornamentation. A dress may have the richest fulness of color, and still the tints may be so chastened and subdued as to produce the impression of a severe simplicity. Suppose, for example, a golden-haired blonde chooses for the ground-tone of her toilet a deep shade of purple, such as affords a good background for the hair and complexion. The larger draperies of the costume being of this color, the bonnet may be of a lighter shade of the same, ornamented with lilac hyacinths, shading insensibly towards rose-color. The effect of such a costume is simple, even though there be much ornament, because it is ornament artistically disposed towards a general result.
"A dark shade of green being chosen as the ground-tone of a dress, the whole costume may, in like manner, be worked up through lighter and brighter shades of green, in which rose-colored flowers may appear, with the same impression of simple appropriateness that is made by the pink blossom over the green leaves of a rose. There have been times in France when the study of color produced artistic effects in costume worthy of attention, and resulted in styles of dress of real beauty. But the present corrupted state of morals there has introduced a corrupt taste in dress; and it is worthy of thought that the decline of moral purity in society is often marked by the deterioration of the sense of artistic beauty. Corrupt and dissipated social epochs produce corrupt styles of architecture and corrupt styles of drawing and painting, as might easily be illustrated by the history of art. When the leaders of society have blunted their finer perceptions by dissipation and immorality, they are incapable of feeling the beauties which come from delicate concords and truly artistic combinations. They verge towards barbarism, and require things that are strange, odd, dazzling, and peculiar to captivate their jaded senses. Such we take to be the condition of Parisian society now. The tone of it is given by women who are essentially impudent and vulgar, who override and overrule, by the mere brute force of opulence and luxury, women of finer natures and moral tone. The court of France is a court of adventurers, of parvenus; and the palaces, the toilets, the equipage, the entertainments, of the mistresses outshine those of the lawful wives. Hence comes a style of dress which is in itself vulgar, ostentatious, pretentious, without simplicity, without unity, seeking to dazzle by strange combinations and daring contrasts.
