London Films. William Dean Howells

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      To my vision, or any illusion, they wore every sort of careless cap, slouch felt hat, and straw hat; any sort of tunic, jacket, and cutaway. The top-hat and frock-coat still appear, but their combination is evidently no longer imperative, as it formerly was at all daytime functions. I do not mean to say that you do not often see that stately garment on persons of authority, but only that it is apparently not of the supremacy expressed in the drawings of Du Maurier in the eighties and nineties of the last century. Certainly, when it comes to the artist at Truefitt's wearing a frock-coat while cutting your hair, you cannot help asking yourself whether its hour has not struck. Yet, when one has said this, one must hedge from a conjecture so extreme. The king wears a frock-coat, a long, gray one, with a white top-hat and lavender gloves, and those who like to be like a king conform to his taste. No one, upon his life, may yet wear a frock and a derby, but many people now wear top-hats, though black ones, with sack-coats, with any sort of coats; and, above all, the Londoner affects in summer a straw hat either of a flat top and a pasteboard stiffness, or of the operatically picturesque Alpine pattern, or of a slouching Panama shapelessness. What was often the derision, the abhorrence of the English in the dress of other nations has now become their pleasure, and, with the English genius of doing what they like, it may be that they overdo their pleasure. But at the worst the effect is more interesting than our uniformity. The conventional evening dress alone remains inviolate, but how long this will remain, who can say? The simple-hearted American, arriving with his scrupulous dress suit in London, may yet find himself going out to dinner with a company of Englishmen in white linen jackets or tennis flannels.

      If, however, the men's dress in England is informal, impatient, I think one will be well within the lines of safety in saying that above everything the English women's dress expresses sentiment, though I suppose it is no more expressive of personal sentiment than the chic of our women's dress is expressive of personal chic; in either case the dressmaker, male or female, has impersonally much to do with it. Under correction of those countrywomen of ours who will not allow that the Englishwomen know how to dress, I will venture to say that their expression of sentiment in dress is charming, but how charming it comparatively is I shall be far from saying. I will only make so bold as to affirm that it seems more adapted to the slender fluency of youth than some realizations of the American ideal; and that after the azaleas and rhododendrons in the Park there is nothing in nature more suggestive of girlish sweetness and loveliness than the costumes in which the wearers flow by the flowery expanses in carriage or on foot. The colors worn are often as courageous as the vegetable tints; the vaporous air softens and subdues crimsons and yellows that I am told would shriek aloud in our arid atmosphere; but mostly the shades worn tend to soft pallors, lavender, and pink, and creamy white. A group of girlish shapes in these colors, seen newly lighted at a doorway from a passing carriage, gave as they pressed eagerly forward a supreme effect of that sentiment in English dress which I hope I am not recreant in liking. Occasionally, also, there was a scarf, lightly escaping, lightly caught, which, with an endearing sash, renewed for a fleeting moment a bygone age of Sensibility, as we find it recorded in many a graceful page, on many a glowing canvas.

      Pictorial, rather than picturesque, might be the word for the present dress of Englishwomen. It forms in itself a lovely picture to the eye, and is not merely the material or the inspiration of a picture. It is therefore the more difficult of transference to the imagination of the reader who has not also been a spectator, and before such a scene as one may witness in a certain space of the Park on a fair Sunday after church in the morning, or before dinner in the early evening, the boldest kodak may well close its single eye in despair. As yet even the mental photograph cannot impart the tints of nature, and the reader who wishes to assist at this scene must do his best to fancy them for himself. At the right moment of the ripening London season the foliage of the trees is densely yet freshly green and flatteringly soft to the eye; the grass below has that closeness of texture which only English grass has the secret of. At fit distances the wide beds of rhododendrons and azaleas are glowing; the sky is tenderly blue, and the drifted clouds in it are washed clean of their London grime. If it is in the afternoon, these beautiful women begin to appear about the time when you may have bidden yourself abandon the hope of them for that day. Some drift from the carriages that draw up on the drive beside the sacred close where they are to sit on penny chairs, spreading far over the green; others glide on foot from elect neighborhoods, or from vehicles left afar, perhaps that they may give themselves the effect of coming informally. They arrive in twos and threes, young girls commonly with their mothers, but sometimes together, in varied raptures of millinery, and with the rainbow range in their delicately floating, delicately clinging draperies. But their hats, their gowns, always express sentiment, even when they cannot always express simplicity; and the just observer is obliged to own that their calm faces often express, if not simplicity, sentiment. Their beauty is very, very great, not a beauty of coloring alone, but a beauty of feature which is able to be patrician without being unkind; and if, as some American women say, they do not carry themselves well, it takes an American woman to see it. They move naturally and lightly—that is, the young girls do; mothers in England, as elsewhere, are apt to put on weight; but many of the mothers are as handsome in their well-wearing English way as their daughters.

      Several irregular spaces are enclosed by low iron barriers, and in one of these the arriving groups of authorized people found other people of their kind, where the unauthorized people seemed by common consent to leave them. There was especially one enclosure which seemed consecrated to the highest comers; it was not necessary that they should make the others feel they were not wanted there; the others felt it of themselves, and did not attempt to enter that especial fairy ring, or fairy triangle. Those within looked as much at home as if in their own drawing-rooms, and after the usual greetings of friends sat down in their penny chairs for the talk which the present kodak would not have overheard if it could.

      If any one were to ask me how I knew that these beautiful creatures were of supreme social value, I should be obliged to own that it was largely an assumption based upon hearsay. For all I can avouch personally in the matter they might have been women come to see the women who had not come. Still, if the effects of high breeding are visible, then they were the sort they looked. Not only the women, but the men, old and young, had the aristocratic air which is not aggressive, the patrician bearing which is passive and not active, and which in the English seems consistent with so much that is human and kindly. There is always the question whether this sort of game is worth the candle; but that is a moral consideration which would take me too far from the little scene I am trying to suggest; it is sufficient for the present purpose that the English think it is worth it. A main fact of the scene was the constant movement of distinguished figures within the sacred close, and up and down the paths past the rows of on-lookers on their penny chairs. The distinguished figures were apparently not the least molested by the multiplied and concentrated gazes of the on-lookers, who were, as it were, outside the window, and of the street. What struck one accustomed to the heterogeneous Sunday crowds of Central Park, where any such scene would be so inexpressibly impossible, was the almost wholly English personnel of the crowd within and without the sacred close. Here and there a Continental presence, French or German or Italian, pronounced its nationality in dress and bearing; one of the many dark subject races of Great Britain was represented in the swarthy skin and lustrous black hair and eyes of a solitary individual; there were doubtless various colonials among the spectators, and in one's nerves one was aware of some other Americans. But these exceptions only accented the absolutely English dominance of the spectacle. The alien elements were less evident in the observed than in the observers, where, beyond the barrier, which there was nothing to prevent their passing, they sat in passive rows, in passive pairs, in passive ones, and stared and stared. The observers were mostly men, and largely men of the age when the hands folded on the top of the stick express a pause in the emotions and the energies which has its pathos. There were women among them, of course, but the women were also of the age when the keener sensibilities are taking a rest; and such aliens of their sex as qualified the purely English nature of the affair lost whatever was aggressive in their difference.

      It was necessary to the transaction of the drama that from time to time the agents of the penny-chair company should go about in the close and collect СКАЧАТЬ