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speaking of the character and antecedents of Felix Graham I have said that he was moulding a wife for himself. The idea of a wife thus moulded to fit a man's own grooves, and educated to suit matrimonial purposes according to the exact views of the future husband was by no means original with him. Other men have moulded their wives, but I do not know that as a rule the practice has been found to answer. It is open, in the first place, to this objection,—that the moulder does not generally conceive such idea very early in life, and the idea when conceived must necessarily be carried out on a young subject. Such a plan is the result of much deliberate thought, and has generally arisen from long observation, on the part of the thinker, of the unhappiness arising from marriages in which there has been no moulding. Such a frame of mind comes upon a bachelor, perhaps about his thirty-fifth year, and then he goes to work with a girl of fourteen. The operation takes some ten years, at the end of which the moulded bride regards her lord as an old man. On the whole I think that the ordinary plan is the better, and even the safer. Dance with a girl three times, and if you like the light of her eye and the tone of voice with which she, breathless, answers your little questions about horseflesh and music—about affairs masculine and feminine,—then take the leap in the dark. There is danger, no doubt; but the moulded wife is, I think, more dangerous.

With Felix Graham the matter was somewhat different, seeing that he was not yet thirty, and that the lady destined to be the mistress of his family had already passed through three or four years of her noviciate. He had begun to be prudent early in life; or had become prudent rather by force of sentiment than by force of thought. Mary Snow was the name of his bride-elect; and it is probable that, had not circumstances thrown Mary Snow in his way, he would not have gone out of his way to seek a subject for his experiment. Mary Snow was the daughter of an engraver,—not of an artist who receives four or five thousand pounds for engraving the chef-d’œuvre of a modern painter,—but of a man who executed flourishes on ornamental cards for tradespeople, and assisted in the