Peculiar: A Tale of the Great Transition

“Wed not for wealth, Emily, without love,—’tis gaudy slavery; nor for love without competence,—’tis twofold misery.”—Colman’s Poor Gentleman.

It is a small and somewhat faded room in an unpretending brick house in one of the streets that intersect Broadway, somewhere between Canal Street and the Park. A woman sits at a writing-table, with the fingers of her left hand thrust through her hair and supporting her forehead, while in her right hand she holds a pen with which she listlessly draws figures, crosses, circles and triangles, faces and trees, on the blotting-paper that partly covers a letter which she has been inditing.

A window near by is open at the top. March, having come in like a lion, is going out like a lamb. A canary-bird, intoxicated with the ambrosial breath and subduing sunshine of the first mild day of spring, is pouring forth such a Te Deum laudamus as Mozart himself would have despaired of rivalling. Yesterday’s rain-storm purified the atmosphere, swept clean the streets, and deodorized the open gutters, that in warm weather poison with their effluvium the air of the great American metropolis.

On the wall, in front of the lady at the table, hangs a mirror. Look, now, and you will catch in it the reflection of her face. Forty? Not far from it. Perhaps four or five years on the sunny side. Fair? Many persons would call her still beautiful. The features, though somewhat thin, show their fine Grecian outline. The hair is of a rich flaxen, the eyes blue and mild, the mouth delicately drawn, showing Cupid’s bow in the curve of the upper lip, and disclosing, not too ostentatiously, the whitest teeth.

Her dress is significant of past rather than present familiarity with a fashionable wardrobe. If she ever wore jewels, she has parted with all of them, for there is not even a plain gold ring on her forefinger. Her robe is a simple brown cashmere, not so distended by crinoline as to disguise her natural figure, which is erect, of the average height, and harmoniously rounded. We detect this the better as she rises, looks a moment sorrowfully in the glass, and sighs to herself, “Fading! fading!”