Routledge's Manual of Etiquette Part 3

If you are at the house of a new acquaintance and find yourself among entire strangers, remember that by so meeting under one roof you are all in a certain sense made known to one another, and should, therefore, converse freely, as equals. To shrink away to a side-table and affect to be absorbed in some alb.u.m or ill.u.s.trated work; or, if you find one unlucky acquaintance in the room, to fasten upon her like a drowning man clinging to a spar, are _gaucheries_ which no shyness can excuse.

If you possess any musical accomplishments, do not wait to be pressed and entreated by your hostess, but comply immediately when she pays you the compliment of inviting you to play or sing. Remember, however, that only the lady of the house has the right to ask you. If others do so, you can put them off in some polite way; but must not comply till the hostess herself invites you.

Be scrupulous to observe silence when any of the company are playing or singing. Remember that they are doing this for the amus.e.m.e.nt of the rest; and that to talk at such a time is as ill-bred as if you were to turn your back upon a person who was talking to you, and begin a conversation with some one else.

If you are yourself the performer, bear in mind that in music, as in speech, "brevity is the soul of wit." Two verses of a song, or four pages of a piece, are at all times enough to give pleasure. If your audience desire more they will ask for more; and it is infinitely more flattering to be encored than to receive the thanks of your hearers, not so much in grat.i.tude for what you have given them, but in relief that you have left off. You should try to suit your music, like your conversation, to your company. A solo of Beethoven's would be as much out of place in some circles as a comic song at a quakers' meeting.

To those who only care for the light popularities of the season, give Balfe and Verdi, Glover and Julien. To connoisseurs, if you perform well enough to venture, give such music as will be likely to meet the exigencies of a fine taste. Above all, attempt nothing that you cannot execute with ease and precision.

If the party be of a small and social kind, and those games called by the French _les jeux innocents_ are proposed, do not object to join in them when invited. It maybe that they demand some slight exercise of wit and readiness, and that you do not feel yourself calculated to s.h.i.+ne in them; but it is better to seem dull than disagreeable, and those who are obliging can always find some clever neighbour to a.s.sist them in the moment of need.

Impromptu charades are frequently organized at friendly parties.

Unless you have really some talent for acting and some readiness of speech, you should remember that you only put others out and expose your own inability by taking part in these entertainments. Of course, if your help is really needed, and you would disoblige by refusing, you must do your best, and by doing it as quietly and coolly as possible, avoid being awkward or ridiculous.

Even though you may take no pleasure in cards, some knowledge of the etiquette and rules belonging to the games most in vogue is necessary to you in society. If a fourth hand is wanted at a rubber, or if the rest of the company sit down to a round game, you would be deemed guilty of an impoliteness if you refused to join.

The games most commonly played in society are whist, loo, _vingt-et-un_, and speculation.

Whist requires four players.[A] A pack of cards being spread upon the table with their faces downwards, the four players draw for partners.

Those who draw the two highest cards and those who draw the two lowest become partners. The lowest of all claims the deal.

Married people should not play at the same table, unless where the party is so small that it cannot be avoided. This rule supposes nothing so disgraceful to any married couple as dishonest collusion; but persons who play regularly together cannot fail to know so much of each other's mode of acting, under given circ.u.mstances, that the chances no longer remain perfectly even in favour of their adversaries.

Never play for higher stakes than you can afford to lose without regret. Cards should be resorted to for amus.e.m.e.nt only; for excitement, never.

No well-bred person ever loses temper at the card-table. You have no right to sit down to the game unless you can bear a long run of ill-luck with perfect composure, and are prepared cheerfully to pa.s.s over any blunders that your partner may chance to make.

If you are an indifferent player, make a point of saying so before you join a party at whist. If the others are fine players they will be infinitely more obliged to you for declining than accepting their invitation. In any case you have no right to spoil their pleasure by your bad play.

Never let even politeness induce you to play for very high stakes.

Etiquette is the minor morality of life; but it never should be allowed to outweigh the higher code of right and wrong.

Young ladies may decline to play at cards without being deemed guilty of impoliteness.

No very young lady should appear at an evening party without an escort.

In retiring from a crowded party it is unnecessary that you should seek out the hostess for the purpose of bidding her a formal good-night. By doing this you would, perhaps, remind others that it was getting late, and cause the party to break up. If you meet the lady of the house on your way to the drawing-room door, take your leave of her as un.o.btrusively as possible, and slip away without attracting the attention of her other guests.

[Footnote A: For a succinct guide to whist, loo, _vingt-et-un_, speculation, &c., &c., &c., see Routledge's "Card-player," by G.F.

Pardon, price _sixpence_.]

IX.--THE DINNER-TABLE.

To be acquainted with every detail of the etiquette pertaining to this subject is of the highest importance to every gentlewoman. Ease, _savoir faire_, and good breeding are nowhere more indispensable than at the dinner-table, and the absence of them is nowhere more apparent.

How to eat soup and what to do with a cherry-stone are weighty considerations when taken as the index of social status; and it is not too much to say, that a young woman who elected to take claret with her fish, or ate peas with her knife, would justly risk the punishment of being banished from good society. As this subject is one of the most important of which we have to treat, we may be pardoned for introducing an appropriate anecdote related by the French poet Delille:--

Delille and Marmontel were dining together in the month of April, 1786, and the conversation happened to turn upon dinner-table customs.

Marmontel observed how many little things a well-bred man was obliged to know, if he would avoid being ridiculous at the tables of his friends.

"They are, indeed, innumerable," said Delille; "and the most annoying fact of all is, that not all the wit and good sense in the world can help one to divine them untaught. A little while ago, for instance, the Abbe Cosson, who is Professor of Literature at the College Mazarin, was describing to me a grand dinner to which he had been invited at Versailles, and to which he had sat down in the company of peers, princes, and marshals of France.

"'I'll wager now,' said I, 'that you committed a hundred blunders in the etiquette of the table!'

"'How so?' replied the Abbe, somewhat nettled. 'What blunders could I make? It seems to me that I did precisely as others did.'

"'And I, on the contrary, would stake my life that you did nothing as others did. But let us begin at the beginning, and see which is right.

In the first place there was your table napkin--what did you do with that when you sat down at table?'

"'What did I do with my table-napkin? Why, I did like the rest of the guests: I shook it out of the folds, spread it before me, and fastened one corner to my b.u.t.ton-hole.'

"'Very well, _mon cher_; you were the only person who did so. No one shakes, spreads, and fastens a table-napkin in that manner. You should have only laid it across your knees. What soup had you?'

"'Turtle.'

"'And how did you eat it?'

"'Like every one else, I suppose. I took my spoon in one hand, and my fork in the other--'

"'Your fork! Good heavens! None but a savage eats soup with a fork.

But go on. What did you take next?'

"'A boiled egg.'

"'Good; and what did you do with the sh.e.l.l?'

"'Not eat it, certainly. I left it, of course, in the egg-cup.'

"'Without breaking it through with your spoon?'

"'Without breaking it.'

"'Then, my dear fellow, permit me to tell you that no one eats an egg without breaking the sh.e.l.l and leaving the spoon standing in it. And after your egg?'

"'I asked for some _bouilli_.'

"'For _bouilli_! It is a term that no one uses. You should have asked for beef--never for _bouilli_. Well, and after the _bouilli_?'

"'I asked the Abbe de Radonvilliers for some fowl.'

"'Wretched man! Fowl, indeed! You should have asked for chicken or capon. The word "fowl" is never heard out of the kitchen. But all this applies only to what you ate; tell me something of what you drank, and how you asked for it.'

"'I asked for champagne and bordeaux from those who had the bottles before them.'

"'Know then, my good friend, that only a waiter, who has no time or breath to spare, asks for champagne or bordeaux. A gentleman asks for _vin de champagne_ and _vin de bordeaux_. And now inform me how you ate your bread?'

"'Undoubtedly like all the rest of the world. I cut it into small square pieces with my knife.'