attention. To flirt a fan, converse in whispers, indulge in extravagant gestures of merriment or admiration, laugh loudly or clap your hands together, are all excessively vulgar and unlady-like. Never turn your head to look at those seated behind you, or near you.

If you speak to your companion while the curtain is up, lower your voice, that you may not disturb others interested in the conversation on the stage.

THE OPERA.-Here you should wear full dress, an opera cloak, and either a head-dress, or dressy bonnet of some thin material. Your gloves must be of kid, white, or some very light tint to suit your dress. Many dress for the opera, as they would for the theatre; but the beauty of the house is much enhanced by each lady contributing her full dress toilette to the general effect.

If you go to the dressing-room, leave your hood and shawl in the care of the woman in waiting, whom you must fee when she returns them to you.

If you do not wish to go to the dressing-room, allow your escort to take off your shawl or cloak, and throw it over the back of the seat. As your opera cloak must be light enough to keep on all the evening, though you may throw it open, you must wear over it a heavier cloak or a shawl. Throw this off in the lobby, just before you enter your box. Your gloves you must keep on all the evening.

Avoid handling the play bills, as the printing ink will soil your gloves in a few minutes, making your hands appear very badly for the rest of the evening.

You should be in your seat at the opera before the

overture commences.

Never converse during the performance. Even the lowest toned remark will disturb a real lover of music, and these will be near you on all sides. Exclamations of admiration, "Exquisite!" "Beautiful!" or "Lovely!" are in the worst taste. Show your appreciation by quiet attention to every note, and avoid every exclamation or gesture.

In our new opera houses there are rooms for promenade, and between the acts your escort may invite you to walk there. You may accept the invitation with perfect propriety. He will leave the box first and then offer his hand to you. In the lobby take his arm, and keep it until you return to the box. If you have taken your cloak or shawl to your seat, leave them there during your promenade. Return to your seat when the gong sounds the recall, that you may not disturb others after the next act commences.

In walking up and down in the promenading saloon, you may pass and repass friends. Bow the first time you meet them, but not again.

If you meet your gentlemen friends there, bow, but do not stop to speak. They may join you for once round the room, then allow them to leave you. Your escort will feel justly offended if you allow any other gentlemen to engross your attention entirely when he has invited you to the entertainment.

CONCERTS-Here, as at the opera, you may wear a bonnet or not, as you will. Go early to the hall, unless you have secured a seat, and then, be in time for the first song. If you are unavoidably late, enter quietly, and take a seat near the door. It is very rude to push

forward to the front of the hall, and either crowd those upon the benches, or force some gentleman to offer you his place. If the hall is so crowded that even the back seats are full, and a gentleman offers you his place, you should thank him before accepting it.

Again, I repeat, do not converse, or disturb those around you by exclamations or gesticulations.

LECTURES-Two ladies may attend a lecture, unaccompanied by a gentleman, without attracting attention.

The dress, bonnet, and cloak, worn in the street, should be worn in a lecture-room, as these are, by no means, occasions for full dress.

If you return at an early hour from any place of amusement, invite your escort into the house upon your arrival there, and lay aside your bonnet and shawl. If you keep them on, he will conclude that you expect him to shorten his visit. If it is late when you reach home, he will probably decline your invitation to enter. If, however, he accepts it, do not lay aside your shawl, and he will soon leave you.

If he asks permission to call in the morning, you must, unless prevented by an imperative engagement, remain at home to see him.

Upon your way home from the theatre, concert, or opera, speak warmly of the pleasure of the evening, and, at parting, thank him for that pleasure. Show by your manner that you have heartily enjoyed the entertainment you owe to his civility. If you are weary, do not allow him to see it. If disappointed, conceal that also. You will be able to find some good points in the performance; speak of these and ignore the bad ones.

If at the theatre, opera, or in a concert-room, you see an acquaintance, you are not expected to recognize her, unless near enough to speak. A lady must not bow to any one, even her own sister, across a theatre or concert

room.

12

CHAPTER XXI.

ACCOMPLISHMENTS.

In the present age, when education is within the reach of all, both rich and poor, every lady will endeavor to become, not only well educated, but accomplished. It is not, as some will assert, a waste of time or money. Not only the fingers, voice, and figure are improved, but the heart and intellect will become refined, and the happiness greatly increased.

Take the young lady, after a solid basis has been laid in her mind of the more important branches of education, and rear upon that basis the structure of lighter education-the accomplishments. To cultivate these, disregarding the more solid information, is to build your castle without any foundation, and make it, not only absurd, but unsteady. The pleasure of hearing from a lady a cavatina executed in the most finished manner, will be entirely destroyed, if her first spoken words after the performance are vulgar, or her sentence ungrammatical.

A lady without her piano, or her pencil, her library of French, German, or Italian authors, her fancy work and tasteful embroideries, is now rarely met with, and it is right that such arts should be universal. No woman