powder in their hair, perpetrating dismal jokes, the point of which we fancy is levelled at ourselves.
To some men and women the transformation scene arrives late in life, but to all inevitably at some time; and then when the scene on the stage before us is changed, a greater transformation ensues within.
When we were children we believed that everything glittering was gold, that men were disinterested and women sincere. The transformation scene came on us, perhaps with coruscations of light and grouping of colours and actors, perhaps without, and went by, leaving us mistrustful of every person, doubtful of everything, sceptical, cynical, disenchanted. Is not—to take a crucial case—marriage itself a grand transformation scene that closes the idyl of youth, and opens the drama of middle age? We live for a while in a fairy world, the flowers blaze with the most brilliant colours, the air is spiced as the breezes of Ceylon, angels converse with men, and sing æthereal music, manna floats down from heaven, containing in itself all sweetness; sun and moon stand still o'er us, over against each other, not to witness a conflict, as of old in Ajalon, but to brighten and prolong the day of glamour. Then the bride appears before us, as Eve appeared to Adam, unutterably beautiful and perfect and innocent, and we kneel in a rapture, and dare not breathe, dare not speak, nor stir; and swoon in an ecstasy of wonder and adoration.
Then tingle the marriage bells. The transformation scene is well set with bridesmaids and orange-blossoms, and a wedding breakfast, postboys with favours, and a shower of rice, and then—?
The fairy tale is over. The first part of the pantomime is over. The colours have lost their brilliancy, the flowers shrivel, the scents are resolved into smells of everyday life, broiled bacon, cabbage water, and the light is eclipsed as by a November fog. The men for the way-rate, the water-rate, and
