Miss Schley

Definition and stakes

Portrait of Robert Hichens Robert Hichens,  The Woman with the Fan

“ Here, before her friends, was set a woman strangely like her, but evidently a bad woman. Lady Holme was certain that the result of Miss Schley’s performance would be that were she to do things now which, done before the Arkell House ball and this first night, would not have been noticed, or would have been merely smiled at, they would be commented upon with acrimony, exaggerated, even condemned.
Miss Schley was turning upon her one of those mirrors which distorts by enlarging. Society would be likely to see her permanently distorted, and not only in mannerisms but in character.
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Source: Gutenberg

Portrait of Robert Hichens Robert Hichens,  The Woman with the Fan

“ No.”
“Consider yourselves enemies—for no reasons, or secret woman’s reasons. It’s safer.”
Lady Holme looked down the gallery again. Miss Schley’s fair head was bending forward to some invisible person.
“And the mimicry?” she asked, turning again to Robin.
“Can only be applied to mannerisms, to the ninety-ninth part, the inconsiderable fraction of your charm. Miss Schley could never imitate the hidden woman, the woman who sings, the woman who laughs at, denies herself when she is not singing.”
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Source: Gutenberg

Portrait of Robert Hichens Robert Hichens,  The Woman with the Fan

“ She is in a continual flutter of movement, as if her body were threaded with trembling wires. She uses a great deal of gesture. She is noisy about nothing. She is vivacious at all costs, and would rather suggest hysteria than British phlegm.
Miss Schley’s calm was therefore in no danger of being drowned in any pervasive calm about her. On the contrary, it stood out. It became very individual. Her composed speechlessness in the midst of uneasy chatter—the Englishwoman is seldom really self-possessed—carried with it a certain dignity which took the place of breeding.
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Source: Gutenberg

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