If men have their dissipations, the women have theirs also. Your fashionable woman generally displays more tact than her husband. She has greater opportunities for display, and makes better use of them. If the ball, or party, or sociable at her residence is a success, the credit is hers exclusively, for the husband does little more than pay the bills. Many of these women are “from the ranks.” They have risen with their husbands, and are coarse and vulgar in appearance, and without refinement. But the women of fashion are not all vulgar or unrefined. Few of them are well educated, but the New York woman of fashion, as a rule, is not only very attractive in appearance, but capable of creating a decided impression upon the society in which she moves. She is thoroughly mistress of all its arts, she knows just when and where to exercise them to the best advantage, she dresses in a style the magnificence of which is indescribable, and she has tact enough to carry her through any situation. Yet, in judging her, one must view her as a butterfly, as a mere creature of magnificence and frivolity. Don’t seek to analyze her character as a wife or mother. You may find that the marriage vow is broken on her part as well as on her husband’s; and you will most probably find that she has sacrificed her soul to the demands of fashion, and “prevented the increase of her family” by staining her hands in the blood of her unborn children. Or, if she be guiltless of this crime, she is a mother in but one sense—that of bearing children. Fashion does not allow her to nurse them. She cannot give to her own flesh and blood the time demanded of her by her “duties in society;” so from their very birth the little innocents are committed to the care of hirelings, and they grow up without her care, removed from the ennobling effect of a mother’s constant watchful presence, and they add to the number of idle, dissolute men and women of fashion, who are a curse to the city.
Your fashionable woman is all art. She is indeed “fearfully and wonderfully made.” She is a compound frequently of false hair, false teeth, padding of various kinds, paint, powder and enamel. Her face is “touched up,” or painted and lined by a professional adorner of women, and she utterly destroys the health of her skin by her foolish use of cosmetics. A prominent Broadway dealer in such articles sells thirteen varieties of powder for the skin, eight kinds of paste, and twenty-three different washes. Every physical defect is skilfully remedied by “artists;” each of whom has his specialty. So common has the habit of resorting to these things become, that it is hard to say whether the average woman of fashion is a work of nature or a work of art. Men marry such women with a kind of “taking the chances” feeling, and if they get a natural woman think themselves lucky.
IV. FASHIONABLE CHILDREN.
As it is the custom in fashionable society in New York to prevent the increase of families, it is natural no doubt to try to destroy childhood in those who are permitted to see the light.
The fashionable child of New York is made a miniature man or woman at the earliest possible period of its life. It does not need much labor, however, to develop “Young America” in the great metropolis. He is generally ready to go out into the world at a very tender age. Our system of society offers him every facility in his downward career. When but a child he has his own latch-key; he can come and go when he pleases; he attends parties, balls, dancing-school, the theatre and other evening amusements as regularly and independently as his elders, and is rarely called upon by “the Governor,” as he patronizingly terms his father, to give any account of himself. He has an abundance of pocket-money, and is encouraged in the lavish expenditure of it. He cultivates all the vices of his grown-up friends; and thinks church going a punishment and religion a bore. He engages in his dissipations with a recklessness that makes old sinners envious of his “nerve.” His friends are hardly such as he could introduce into his home. He is a famous “hunter of the tiger,” and laughs at his losses. He has a mistress, or perhaps several; sneers at marriage, and gives it as his opinion that there is not a virtuous woman in the land. When he is fairly of age he has lost his freshness, and is tired of life. His great object now is to render his existence supportable.
Girls are forced into womanhood by fashion even more rapidly than boys into manhood. They are dressed in the most expensive manner from their infancy, and without much regard to their health. Bare arms and necks, and short skirts are the rule, even in the bleakest weather, for children’s parties, or for dancing-school, and so the tender frames of the little ones are subjected to an exposure that often sows the seeds of consumption and other disease. The first thing the child learns is that it is its duty to be pretty—to look its best. It is taught to value dress and show as the great necessities of existence, and is trained in the most extravagant habits. As the girl advances towards maidenhood, she is forced forward, and made to look as much like a woman as possible. Her education is cared for after a fashion, but amounts to very little. She learns to play a little on some musical instrument, to sing a little, to paint a little—in short she acquires but a smattering of everything she undertakes. She is left in ignorance of the real duties of a woman’s life—the higher and nobler part of her existence. She marries young, and one of her own set, and her married life is in keeping with her girlhood. She is a creature in which nothing has been fully developed but the passions and the nerves. Her physical constitution amounts to nothing, and soon gives way. Her beauty goes with her health, and she is forced to resort to all manner of devices to preserve her attractions.
It is a habit in New York to allow children to give large entertainments at fashionable resorts, without the restraining presence of their elders. Here crowds of boys and girls of a susceptible age assemble under the intoxicating influence of music, gas-light, full dress, late suppers, wines and liquors. Sometimes this juvenile dissipation has been carried so far that it has been sharply rebuked by the public press.
V. A FASHIONABLE BELLE.
An English writer gives the following clever sketch of a fashionable young lady of New York, whom he offers as a type of the “Girl of the Period:”
“Permit me to present you to Miss Flora Van Duysen Briggs. Forget Shakspeare’s dictum about a name; there is a story attached to this name which I shall tell you by and by. Miss Flora is a typical New York girl of the period; between sixteen and seventeen years old; a little under the medium height; hair a golden brown; eyes a violet blue; cheeks and lips rosy; teeth whiter and brighter than pearls; hands and feet extremely small and well-shaped; figure petite but exquisitely proportioned; toilette in the latest mode de Paris; but observe, above all, that marvellous bloom upon her face, which American girls share with the butterfly, the rose, the peach and the grape, and in which they are unequalled by any other women in the world.
“Miss Flora’s biography is by no means singular. Her father is Ezra Briggs, Esq., a provision merchant in the city. Twenty-five years ago, Mr. Briggs came to New York from one the Eastern States, with a common-school education, sharp sense, and no money. He