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Love and Physical Beauty : Beauty in 1920

Love and Physical Beauty : Beauty in 1920
To those who know how to read the signs of the times it will have become apparent, in the course of these last days and weeks, that the Silly Season is close upon us.

 

 

Beauty in 1920

 

            To those who know how to read the signs of the times it will have become apparent, in the course of these last days and weeks, that the Silly Season is close upon us. Already - and this in July with the menace of three or four new wars grumbling on the thunderous horizon - already a monster of the deep has appeared at a popular seaside resort. Already Mr. Louis McQuilland has launched in the Daily Express a fierce onslaught on the younger poets of the Asylum. Already the picture-papers are more than half-filled with photographs of bathing nymphs - photographs that make one understand the ease with which St. Anthony rebuffed his temptations. The newspapermen, ramping up and down like wolves, seek their prey wherever they may find it; and it was with a unanimous howl of delight that the whole Press went pelting after the hare started by Mrs. Asquith in a recent installment of her autobiography. Feebly and belatedly, let me follow the pack.

            Mrs. Asquith's denial of beauty to the daughters of the twentieth century has proved a god-sent giant gooseberry. It has necessitated the calling in of a whole host of skin-food specialists, portrait-painters and photographers to deny this far from soft impeachment. 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 pictorial 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 gulf separates the two types of beauty represented by these two sets of photographs.

            I remember in If, one of those charming conspiracies of E. V. Lucas and George Morrow, a series of parodied fashion-plates entitled "If Faces get any Flatter. Last year's standard, this year's Evening Standard." The faces of our living specimens 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 imposing, more appealingly, more alluringly pretty. Forty years ago it was the aristocratic type that was appreciated; today 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 reptile; the Fish girl and other kindred flat-faced species have taken her place.

            Between the 'thirties and 'fifties another type, the egg-faced girl, reigned supreme 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 sleek 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 provocative. 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 enchanting picture of Etty's, "Youth on the Prow and Pleasure at the Helm." The naiads are of the purest egg-faced type. Their hair is sleek, their shoulders slope and their faces are 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 forefinger 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 solitary foot projects, generally in a strangely haphazard 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 ballad:

 

            Her feet beneath her petticoat

            Like little mice stole in and out.

 

It is an austere 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 utterly unlike the feet of nineteen-twenty. Today 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 radically. On the text, "the feet of the young women," it would be possible to write a profound philosophical 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 calf of the leg was not a muscle that bulged to its greatest dimensions a little below the back of the knee, to subside, decrescendo, toward the ankle. No, in the eighteenth century the calf was an even crescent, with its greatest projection 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 minor 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 more nearly to the Platonic Idea of the human leg than did the poor distorted Appearance of real life. Personally, I prefer my calves with the bulge at the top and a proper ankle at the bottom. But then I don't hold much with the beau idal.

            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 transformation 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 mere 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 inevitable that Du Maurier should have given place to Fish as that zinc subjected to sulphuric acid should break up into ZnSO4+H2. But we leave it to others to formulate the precise workings of the law.

(From On the Margin)

 

 

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