Episode 15

It is bitter. It is greasy. Every spring is worse than the last, whichever end you begin at. They told apocryphal stories of people's drinking sixteen glasses before breakfast; and yet it may have been true; for, if one could bring himself to the point of drinking one glass of it, I should suppose it would have taken such a force to enable him to do it that he might go on drinking indefinitely, from the mere action of the original impulse. I should think one dose of it would render a person permanently indifferent to savors, and make him, like Mithridates, poison-proof. Nevertheless, people go to the springs and drink. Then they go to the bowling-alleys and bowl. In the evening, if you are hilariously inclined, you can make the tour of the hotels. In one you see a large and brilliantly lighted parlor, along the four sides of which are women sitting, solemn and stately, in rows three deep, a man dropped in here and there, about as thick as periods on a page, very young or very old or in white cravats. A piano or a band or something that can make a noise makes it at intervals at one end of the room. They all look as if they waiting for something, but nothing in particular happens. Sometimes, after the mountain has labored awhile, some little mouse of a boy and girl will get up, execute an antic or two and sit down again, when everything relapses into its original solemnity. At very long intervals somebody walks across the floor. There is a moderate fluttering of fans and an occasional whisper. Expectation interspersed with gimcracks seems to be the programme. The greater part of the dancing that I saw was done by boys and girls. It was pretty and painful. Nobody dances so well as children; no grace is equal to their grace; but to go into a hotel at ten o'clock at night, and see little things, eight, ten, twelve years old, who ought to be in bed and asleep, tricked out in flounces and ribbons and all the paraphernalia of ballet-girls, and dancing in the centre of a hollow square of strangers,--I call it murder in the first degree. What can mothers be thinking of to abuse their children so? Children are naturally healthy and simple; why should they be spoiled? They will have to plunge into the world full soon enough; why should the world be plunged into them? Physically, mentally, and morally, the innocents are massacred. Night after night I saw the same children led out to the slaughter, and as I looked I saw their round, red cheeks grow thin and white, their delicate nerves lose tone and tension, their brains become feeble and flabby, their minds flutter out weakly in muslin and ribbons, their vanity kindled by injudicious admiration, the sweet child-unconsciousness withering away in the glare of indiscriminate gazing, the innocence and simplicity and naturalness and childlikeness swallowed up in a seething whirlpool of artificialness, all the fine, golden butterfly-dust of modesty and delicacy and retiring girlhood ruthlessly rubbed off forever before girlhood had even reddened from the dim dawn of infancy. Oh! it is cruel to sacrifice children so. What can atone for a lost childhood? What can be given in recompense for the ethereal, spontaneous, sharply defined, new, delicious sensations of a sheltered, untainted, opening life?

Thoroughly worked into a white heat of indignation, we leave the babes in the wood to be despatched by their ruffian relatives, and go to other hotel. A larger parlor, larger rows, but still three deep and solemn. A tall man, with a face in which melancholy seems to be giving way to despair, a man most proper for an undertaker, but palpably out of place in a drawing-room, walks up and down incessantly, but noiselessly, in a persistent endeavor to bring out a dance. Now he fastens upon a newly arrived man. Now he plants himself before a bench of misses. You can hear the low rumble of his exhortation and the tittering replies. After a persevering course of entreaty and persuasion, a set is drafted, the music galvanizes, and the dance begins.