Judge, 1917-02-03 · page 13 of 28
Judge — February 3, 1917 — page 13: what you’re looking at
What you’re looking at
This is a short fiction piece, not a political cartoon. It depicts a social satire about modern courtship and female independence in the early 20th century. **The scenario:** Mabel receives a phone call from Harry Arden, whom she's apparently engaged to marry. She lies, claiming she has an opera engagement with Phyllis Rosemary, when actually she's seeing another man, Charley Bell. When Phyllis arrives and hears the lie, she challenges Mabel's behavior. **The satire:** Mabel defends her deception by arguing that modern women need "variety" in male companionship—Harry is "sedate" and reliable (marriage material), while Charley is "amusing" and generous. She refuses Phyllis's moral objections as "old-fashioned." **The critique:** The story satirizes the new modern woman's casual attitude toward romantic deception and her compartmentalized approach to relationships, treating courtship as shopping for different male qualities rather than based on genuine commitment.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
ONLY Ry Jo A.W MABEL was emotionally cised over the most r love episode in a best seller when the telephone bell rang. Reluctantly she dropped the book to respond. This was the con- versation: “Mr. Arden—Harry—speaking.” “Oh! Harry! Delighted!’ nything on for this evening?” “This evening?” “Yes. hought you might like to go to the theatre with me and have supper.” “What a shame! Impossible! I’ve an engagement for the opera with Phyllis Rosemary.” A maid had announced Miss Rosemary, who came in just in time to hear Amabel’s reply. “Awfully sorry,” said Harry. about Wednesday evening?” “Ll keep it open for you,” was Ama- bel “How ) And as Harry rang off, Amabel hung up the receiver with a giggle. “You don’t mind a fib, do you, dea WA (LDRON she asked, turning to Phyllis. “I sup- pose yon heard what I sai “Yes But Ido mind. Who was it? And why did you you have an en- gagement with m “That was Harry Arden. Wanted me to go to the theatre and supper with him. I've an engagement for the evening with Charley Bell.” “Yet you've told me you are fond of y—that you intend to marry him.” “And still you go gallivanting with Charley Bell?” “Why not?) These days one must have a variety of company. One chap has characteristics that contrast happily with another's.” “Yet you don’t care enough for Char- to marry him. So. If I marry Harry, he'll have most of my time eventually, He is a dear boy, But Charley is amusing, and an enjoy his company without mort- gaging my future to him. He is very witty, and wants to buy everything in sight for a girl. That tendency, you Y know, might be carried outside of matrimony.” “And Harry?” “Is more sedate. He'll wear better. And I could trust him. I’ve found out that when he isn’t with me he never s the company of other girls. I love such fidelity.” “Then why don’t you practice it?” “T don’t have to. One must have amusement.” “But it’s wrong to deceive a chap like Harry Arden.” “Oh, come! Don’t be so censorious! You're positively old-fashioned!” “Am I? Well, if I thought enough of a young man to make the adm you've made as to Harry—if I had an impulse for him that might mean matri- mony—I should do my best to please him, and nothing that might estrange him.” “Do you pretend to tell me what I should and should not do?” Amabel’s eyes flashed her anger. “T have other demands upon my time. And I shall never give you another oppor-