Mrs. Asquith’s denial of beauty to the daughters of the twentieth century has 113proved a god-sent giant gooseberry. It has necessitated7 the calling in of a whole host of skin-food specialists, portrait-painters and photographers to deny this far from soft impeachment8. A great deal of space has been agreeably and inexpensively filled. Every one is satisfied, public, editors, skin-food specialists and all. But by far the most interesting contribution to the debate was a pictorial9 one, which appeared, if I remember rightly, in the Daily News. Side by side, on the same page, we were shown the photographs of three beauties of the eighteen-eighties and three of the nineteen-twenties. The comparison was most instructive. For a great gulf10 separates the two types of beauty represented by these two sets of photographs.
I remember in If, one of those charming conspiracies11 of E. V. Lucas and George Morrow, a series of parodied12 fashion-plates entitled “If Faces get any Flatter. Last year’s standard, this year’s Evening Standard.” The faces of our living specimens13 of beauty have grown flatter with those of their fashion-plate sisters. Compare the types of 1880 and 1920. The first is steep-faced, almost Roman in profile; in the contemporary beauties the face has broadened and shortened, the profile is less noble, less imposing14, more 114appealingly, more alluringly15 pretty. Forty years ago it was the aristocratic type that was appreciated; to-day the popular taste has shifted from the countess to the soubrette. Photography confirms the fact that the ladies of the ’eighties looked like Du Maurier drawings. But among the present young generation one looks in vain for the type; the Du Maurier damsel is as extinct as the mesozoic reptile16; the Fish girl and other kindred flat-faced species have taken her place.
Between the ’thirties and ’fifties another type, the egg-faced girl, reigned17 supreme18 in the affections of the world. From the early portraits of Queen Victoria to the fashion-plates in the Ladies’ Keepsake this invariable type prevails—the egg-shaped face, the sleek19 hair, the swan-like neck, the round, champagne-bottle shoulders. Compared with the decorous impassivity of the oviform girl our flat-faced fashion-plates are terribly abandoned and provocative20. And because one expects so much in the way of respectability from these egg-faces of an earlier age, one is apt to be shocked when one sees them conducting themselves in ways that seem unbefitting. One thinks of that enchanting21 picture of Etty’s, “Youth on the Prow22 and Pleasure at the Helm.” The naiads are of the purest egg-faced type. Their hair is 115sleek, their shoulders slope and their faces are as impassive as blanks. And yet they have no clothes on. It is almost indecent; one imagined that the egg-faced type came into the world complete with flowing draperies.
It is not only the face of beauty that alters with the changes of popular taste. The champagne-bottle shoulders of the oviform girl have vanished from the modern fashion-plate and from modern life. The contemporary hand, with its two middle fingers held together and the forefinger23 and little finger splayed apart, is another recent product. Above all, the feet have changed. In the days of the egg-faces no fashion-plate had more than one foot. This rule will, I think, be found invariable. That solitary24 foot projects, generally in a strangely haphazard25 way as though it had nothing to do with a leg, from under the edge of the skirt. And what a foot! It has no relation to those provocative feet in Suckling’s ballad26:
Her feet beneath her petticoat
Like little mice stole in and out.
It is an austere27 foot. It is a small, black, oblong object like a tea-leaf. No living human being has ever seen a foot like it, for it is utterly28 unlike the feet of nineteen-twenty. 116To-day the fashion-plate is always a biped. The tea-leaf has been replaced by two feet of rich baroque design, curved and florid, with insteps like the necks of Arab horses. Faces may have changed shape, but feet have altered far more radically29. On the text, “the feet of the young women,” it would be possible to write a profound philosophical30 sermon.
And while I am on the subject of feet I would like to mention another curious phenomenon of the same kind, but affecting, this time, the standards of male beauty. Examine the pictorial art of the eighteenth century, and you will find that the shape of the male leg is not what it was. In those days the calf31 of the leg was not a muscle that bulged32 to its greatest dimensions a little below the back of the knee, to subside34, decrescendo, towards the ankle. No, in the eighteenth century the calf was an even crescent, with its greatest projection35 opposite the middle of the shin; the ankle, as we know it, hardly existed. This curious calf is forced upon one’s attention by almost every minor36 picture-maker of the eighteenth century, and even by some of the great masters, as, for instance, Blake. How it came into existence I do not know. Presumably the crescent calf was considered, in the art schools, to approach 117more nearly to the Platonic37 Idea of the human leg than did the poor distorted Appearance of real life. Personally, I prefer my calves38 with the bulge33 at the top and a proper ankle at the bottom. But then I don’t hold much with the beau idéal.
The process by which one type of beauty becomes popular, imposes its tyranny for a period and then is displaced by a dissimilar type is a mysterious one. It may be that patient historical scholars will end by discovering some law to explain the transformation39 of the Du Maurier type into the flat-face type, the tea-leaf foot into the baroque foot, the crescent calf into the normal calf. As far as one can see at present, these changes seem to be the result of mere40 hazard and arbitrary choice. But a time will doubtless come when it will be found that these changes of taste are as ineluctably predetermined as any chemical change. Given the South African War, the accession of Edward VII. and the Liberal triumph of 1906, it was, no doubt, as inevitable41 that Du Maurier should have given place to Fish as that zinc42 subjected to sulphuric acid should break up into ZnSO? + H?. But we leave it to others to formulate43 the precise workings of the law.
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1 grumbling | |
adj. 喃喃鸣不平的, 出怨言的 | |
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2 asylum | |
n.避难所,庇护所,避难 | |
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3 ramping | |
土堤斜坡( ramp的现在分词 ); 斜道; 斜路; (装车或上下飞机的)活动梯 | |
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4 prey | |
n.被掠食者,牺牲者,掠食;v.捕食,掠夺,折磨 | |
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5 pelting | |
微不足道的,无价值的,盛怒的 | |
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6 autobiography | |
n.自传 | |
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7 necessitated | |
使…成为必要,需要( necessitate的过去式和过去分词 ) | |
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8 impeachment | |
n.弹劾;控告;怀疑 | |
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9 pictorial | |
adj.绘画的;图片的;n.画报 | |
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10 gulf | |
n.海湾;深渊,鸿沟;分歧,隔阂 | |
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11 conspiracies | |
n.阴谋,密谋( conspiracy的名词复数 ) | |
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12 parodied | |
v.滑稽地模仿,拙劣地模仿( parody的过去式和过去分词 ) | |
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13 specimens | |
n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人 | |
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14 imposing | |
adj.使人难忘的,壮丽的,堂皇的,雄伟的 | |
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15 alluringly | |
诱人地,妩媚地 | |
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16 reptile | |
n.爬行动物;两栖动物 | |
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17 reigned | |
vi.当政,统治(reign的过去式形式) | |
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18 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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19 sleek | |
adj.光滑的,井然有序的;v.使光滑,梳拢 | |
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20 provocative | |
adj.挑衅的,煽动的,刺激的,挑逗的 | |
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21 enchanting | |
a.讨人喜欢的 | |
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22 prow | |
n.(飞机)机头,船头 | |
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23 forefinger | |
n.食指 | |
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24 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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25 haphazard | |
adj.无计划的,随意的,杂乱无章的 | |
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26 ballad | |
n.歌谣,民谣,流行爱情歌曲 | |
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27 austere | |
adj.艰苦的;朴素的,朴实无华的;严峻的 | |
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28 utterly | |
adv.完全地,绝对地 | |
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29 radically | |
ad.根本地,本质地 | |
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30 philosophical | |
adj.哲学家的,哲学上的,达观的 | |
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31 calf | |
n.小牛,犊,幼仔,小牛皮 | |
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32 bulged | |
凸出( bulge的过去式和过去分词 ); 充满; 塞满(某物) | |
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33 bulge | |
n.突出,膨胀,激增;vt.突出,膨胀 | |
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34 subside | |
vi.平静,平息;下沉,塌陷,沉降 | |
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35 projection | |
n.发射,计划,突出部分 | |
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36 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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37 platonic | |
adj.精神的;柏拉图(哲学)的 | |
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38 calves | |
n.(calf的复数)笨拙的男子,腓;腿肚子( calf的名词复数 );牛犊;腓;小腿肚v.生小牛( calve的第三人称单数 );(冰川)崩解;生(小牛等),产(犊);使(冰川)崩解 | |
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39 transformation | |
n.变化;改造;转变 | |
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40 mere | |
adj.纯粹的;仅仅,只不过 | |
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41 inevitable | |
adj.不可避免的,必然发生的 | |
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42 zinc | |
n.锌;vt.在...上镀锌 | |
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43 formulate | |
v.用公式表示;规划;设计;系统地阐述 | |
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