" And 'Tenty sewed harder
than ever.
What makes me always put love into a story, Aunt Grundy? Why, because
love is popular; because nine-tenths of the people who read smile to see
the first and faintest hint of the tender passion in what they read;
because a story without love is like bricks without straw; because
a life without it is a life no doubt comfortable to lead, but
uninteresting to hear. Love is your only democrat; Ethelinda in Fifth
Avenue, glittering with the clear splendor of diamonds, and rustling
like a white-birch-swamp with pale silks, gleaming through the twilight
before an opera, and looking violets at Sydney Hamilton over the top
of her inlaid fan, is no more thrilled and rapt and tortured by the
Disturber in Wings, than Biddy in the kitchen, holding tryst with her
"b'y" at the sink-room window. Thousands of years ago, Theseus left
Ariadne tearing the ripples of her amber-bright hair, and tossing her
white arms with the tossing surf, in a vain agony of distraction and
appeal: poets have sung the flirtation, painters have painted it; the
story is an eternal legend of pain and passion, illuminated with lucent
tints of age and the warm South, outlined with the statuesque purity of
classic scenery and classic diction: but I myself never for a moment
believed that Ariadne was a particle more unhappy or pitiable than
Nancy Bunker, our seamstress, was, when Hiram Fenn went West to peddle
essences, and married a female Hoosier whose father owned half a
prairie.
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