Orlo Williams

Summary

Orlo Williams The Good Englishwoman

We should be the last to take so much credit to ourselves. We are justly proud of the Englishwoman, but what is it of which we are proud? Of all the approving epithets that have been applied to women, which do we choose for our own? Is our pride in their beauty, their brilliance, their courage, their wit, their tact, their energy, their endurance, their sagacity, their skill in handicraft, their devotion to their young, their taste in art and dress, their grace of movement, the sweetness of their speech or the greatness of their minds? Are they only an attraction or an independent force?
Source: Gutenberg

Orlo Williams The Good Englishwoman

The drawing-room or sitting-room of an enlightened English woman is neither a salon, awful in its bleak precision, nor simply a feminine boudoir, beflowered and rustling like a robe de chambre to which the entry of a man, even of a husband, takes on the air of a gallantry or an intrusion. It remains sacred to the woman, yet rather as the main sanctuary of the household of which she is the priestess than as the holy of holies; and, in this connection, it is interesting to remark that the English woman, as a rule, has no visible inner sanctuary.
Source: Gutenberg

Orlo Williams The Good Englishwoman

She will manœuvre for the most accomplished partner, whether it be at tennis or bridge, and, if he be a man, she will ignore all other deficiencies on his part, so long as he will help her to win and will gain her the kudos of appearing remarkably accomplished in the public eye. She knows nothing of the comradeship of sport, and will unblushingly give her partner at the morning’s golf the cold shoulder at the evening’s dance if some backboneless elegant, with as little muscle as he has character, happens to show her off with greater effect at the jazz or the fox-trot.
Source: Gutenberg

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