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Horace Kephart (1862-1931) was a noted naturalist, woodsman, journalist, and author. In 1904, he left St. Louis and permanently moved to western North Carolina. Living and working in a cabin on Hazel Creek in Swain County, Kephart began to document life in the Great Smoky Mountains. He created 27 journals in which he made copious notes on a variety of topics. Journal 19 (previously known as Journal IX) includes information on characteristics of people in general. Click the link in the Related Materials field to view a table of contents for this journal.

I CHARACTER- Def inition. Character is the combinat1on of qualities distinguishing any person or class of persons~ any d1stinctive mark or trait, or such marks and tro.its collectively, ·belonging to any person, class. or race; the individuality which is t 1e product of nature, habits. and environment. (St. Diet.) j The sum of those mental and moral qualities which distinguish a human being as a personality. (Enc. Brit.) Personality includes the physical qualities. Character and Plot ~~~"""~~~~~~~l""~IGHBROWS of "\l all time have ~ exercised their H j analytic powers on the relative ( importance, in 1'o .. President lt~r CollieT' s faT next 1u. ~~L:)11111~~~~-~j~5 literature, of character, plot, and style. Reading 1:) an exciting detective story the other day, to soften the hours between dinner and an upper berth, we ,,·ere Htruck anew with the necessity of characterization to make the most of plot, even in narrative which especially depends most upon suspense. ''The .L\lystery of the Yellow Room'' has a plot superior to the major­ity of those through which moves the figure of l\Ir. Sherlock Holmes; the writing is at least not inferior; the total effect, nevertheless, falls far short, for the one reason that nobody stands out as a vividly created being. The l<'renchman 's tale, once begun, can not be dropped by any reader addicted to such fare, but is laid aside at the end with­out that regretful intimacy which the Doyle detective leaves at his fleparture. l\Iost of us can agree with ARISTOTLE, that the rarest and highest element in literature is a first-rate story adequately unfolded, but the story, or plot, or fable, in that sense, implies character; there is no really great tale that is not rich in human meaning. There may be gorgeous language and entrancing personages, as in "The l\Ierchant of Venice" or "Henry V," with no great truth or beauty in the story's outline. There is in the nature of things no great plot conceivable unless the personages through whom it lives are also greatly drawn. C~'.,.. 'W'.u..kl,. . . /~t. CHARACTER-- Factors Determining. GROUPS MEN IN 27 . DIFF~RENT CLA~S~S t • , • ...,;,.""'" ~J$ Prof. Brown Classifies Them According to Inheritance, En­vironment and Response; VALUES HEREDITY MOST liologiat Emphasizes the Impor­tance of Good "Blood" or Cap?city in Choice for Marriage. ACCORDING to a sc.heme of classi­fication drawn up by Herbert Eugene Walter, Associate Pro­fessor of Biology at Brown University, there are twenty-seven kinds ot men. By applying this classification to our­elves, Professor Walter states, we may honestly decld" which of the twenty­l! even varieties we represent, for It may be possible, he asserts, within limits, to change ourselves If desirable Into differ­ent sorts of men. " Better yet," Professor Walter re­marks, " we might try to classify our neighbor, whose faults, if not his virtues, are usually more apparent than our own. It Is always an engaging mental exer­cise to size up other people, since suc· cess In life depends largely upon correct judgments concerning those with whom we have to deal. In order to do this fairly, we must discover what deter· mines the sort of person our neighbor Is and wherein he or she differs from twenty-six other kinds of people. There are three contributing factors that go to make up any man-or woman-and no one of the three can possibly be omitted. " The first Is environment or the sur­roundings In which a person Is brought up. It represents the opportunity or chance In life which one has. The sec­ond Is natural capacity which Is Inherit­ed from one's forebears. 'l'hls Is hered· lty or endowment. The third factor Is the response which Is made with a given Inheritance, whatever it may be, within one's parpcuiar surroundings. Envir· onment is the stage setting, Inheritance the actor and the response what the ac­tor performs upon the stage. The play Involves all three. Environment Is what a man has; Inheritance Is what he Is, and response Is what he does. It takes all three of these things to make a neighbor or any one else. "Furthermore, Inheritance Is decided beforehand for every man. No one can choose his parents or determine the in­born capacity with which they endow him. It is too late to do that when one arrives on the scene. If a man draws a blank in his biological inheritance he Is simply out of luck, for he cannot cha.n.ge It or draw again. No Cauo~ for Shame. "This is why there Is no real reason for any one to be either proud or ashamed of his · blooci ' or his ancestry, whatever It may bE:. He had had no hand In determining \t. One may, how­ever, properly feel pride or shame for the environment In which he remaTns or ror the re~ponse that he makes with whatever ability he has to that envir­onment, since both of these factors are to a degree within his control. When he marries he may also feel pride or shame in the mate whom he chooses to be the fellow-determiner of the natural capacity which he wills to his children, because It Is within his control thus to enrich or cheapen the blood that he baR to pass on to the next generation. "To reduce the matter to the simplest terms, the three fateful factors that de­termine a man-namely, environment, heredity and response-may each occur in at least three varying grades, lntll­cateu roughly as good, medium and poor. By combining these factors we arrive at twenty-seven kinds of men. For example, the Inheritance that a man Is born with ma)' be good, . me· dium or poor. Likewise the environ­ment In which he finds himself and the response which he makes under the cir­cumstances may be also good, medium or poor. In the list below are given the twenty-seven pos"lble combinations re· suiting from this simple arrangement: Inheritance. Environment. H.esponse. 1 Good ( ~ood Good t Good Good Medium 3 Good Good Poor 4 Good Merlium Good 5 Good ·MuUUm Medium 6 Good Medium Poor 7 Good Poor Uoorl 8 Good 'Poor Medium 9 G- Poor ~M 10 )rlf'dlum Good Good 11 ~1edtum noorl 'Medium 12 Medium <;oorl Poor 1:~ J\.ledlum Medium Good 14 Medinm Medium Medium 15 Medium Medium Poor 16 Medium Poor Good J7 Madlu•n Pool' Medium lR ,\[edlum Poor Poor 1 ~ Poor Good Good 20 Poor Good Medium 21 root Good Poor 2~ Poor Mcdiutn C1ood 23 Poor Medium Medium 24 f'oot· Medium Poor 25 Po01· Puor Good :!H Poo1 Poor Medium 27 f'eor Poor Poor " \Ve a.re now ready to classify ottr neighbor. Which of the twenty-se' en possible types does h<' represent end what hope is there of transforming him into a better man? Take the ca•e of 11 man like numbe1· fourteen in the li~t who iH ·medium' in nll of the three detet·mining particulars. How can he ~h!ft his position in the scale of life and become a different man? A 1\ledlum Example. " In the first place, he cannot change his heredity, for, unlil, l..·::?or environntent and ,DOOl' re:-;pon8e, -·Uld be a better risk for him th~n No. 19, for instance, wlilcll aenotcs a person with poor Inheritance, good en­vironment and good response, not only because there would he mo1·e hopr• of I improvement during the lifetime of th•· I prospective partner, but Rlso b<>cau~e th<> possible chilciren of such a union would start lifo! with better • blood ' or ca­padty, and that I~ "' pri~f'le~s thin;:;. " Too frequently what pass68 for a · good match ' In socictl- ref•'rR ROlely. to ~nvlronment and m:tt.Prial po~,..,~~ions of th parties concerned rather thun to I b. CHARACTER-- Tests of. What is his code of honor? ("sense of obligation to some standard other than one's own wh1m or pleasure or advantage .•• a feeling of loyalty towards others regardless of cond~t1ons or consequences") . Is h1s word of honor inv1olate? Would he desert a fr1end? betray a trust? Do "the generous and heroic predom1nate over the mean and selfish in his life?" What is the dominant note that rouses music (sent1ment) in his heart? What is the spark that f1res h1m to enthusiasm? How does he bear suspense? V- ~ ... '~ c How does he carry prosperity? How does he meet d1saster? What lS t.he result upon him of unbearable strain? What is hlS ideal of happiness? What does he most fear? hate? loathe? admire? love? ~ ... rr~ - t. ~;..,e; ~)~~~o-r~,~· Novelty-- Adventure. Knowledge-- Eaucation. Position-- Achievement. Supremacy-- Power. Love-- Sex, Family. Luxury-- Wealth. Serenity-- Religion. CHARACTER - Shows in Emergencies • .•• "in those crises in which reason is most fettered, character is most potent . " Moulton, 57 . .. It~ f; .. I . CHARACTER-- Spurs to Effort . "Man needs obr.;tacles to bA overcome,to be great either in courage or magnanimity; he needs the sense of injuHtice, of wrong , of un­merited contempt; he needs the 'Nrath against these things without which man becomes paHsive like non-carnivorous animals . " (Harold MacGrath, The ~rey Cloak . ) ~ cienc and ~ligiqn I ( 1 v 'j edge. lie may say that beauty is cicntifically indefinable, p~ - ¥" but he does not say that it is therefore unknowable. If he rr IllS has been called an irreligious age. And yet of all did he would deny life itself. Darwin rec-ognized the dis ­the addres~e~ at the recent great meeting in ~ ew York tinction when he wrote: of the American Association for the Ad1·ancement of "~Iy mind seem to halT become a kind of machine for Science the one that commanded the widest public attention grinding general laws out of large collections of fact . . .. and stirred most comment was an address on religion. If I had to li1·c my life again, 1 would haYc made a rule to It was not a scientist who caused this intellectual uproar read some poetry and listen to some mu ·ic at least once e1·ery but-the distinction is Yalid-an historieal sociologist, a pro- week; for perhaps the parts of my brain now atrophied fessor at Smith College, Dr. Harry Elmer Barnes. If a would thus ha1·c been kept aeti1·c through us . The loss of notion of God is needed, he said, "it i~ of littl' 1·aluc to in- these tastes is a loss of happiness, and may possibl~· be in­culeatc a 1•iew of God so hopelessly out of date a~ that which j urious to the intellect, and more probably to the moral was slowly and painfully e1·oln·d hy the semi-barbarous character, by enfct>bling the emotional part of our nature." Hebrew peoples in tl1c clays when a rudimentary type of, Science can sen·e cxprriencc by pointing out the blind geocentric and anthropomorphie outlook reigned supreme alley of life. It can sa1·e, and has sand, men from fear by and unchallenged .. .. . Christian solt:mnity mu~t b · replaced helping them to di tinguish between religion and superstition. by the frank joy of life .... Sin is scientifically indefinable It can release, and has rclea~cd, men from nanowncss and and unknowable .... The psychoanalysts have already shown bigotry by destroying religious conceptions that ha1·e trnm­tbat the 'sense of sin' is but a psychophysical attribute of mclcd their minds. Though science cannot be a substitu te adolescent sentimental del'elopment." for religion it can be a conccti1·c of religiou · misconceptions, In spite of himself, Dr. Harry Elmer Barn s is a thcolo- and create a more challenging conception in their place. gian. Religion is no more theology than the ·tars arc astron-omy, or flowers are botany, or people arc anthropology and Religion is not primarily a conception of I ifc; it is rather ociology. What the Hebrew people and their literature a way of living. It sets a goal and it supplies power. Ex 'were concerned with was not any religious conception but pressed in another way, it is a relationship of life to sonH' religious life. \\' hat Dr. Barnes want· are new religious thing or someone outside itself. That is why Jesus spokt­conceptions. of God as Father-not as a religious conception hut as a One man sees a bird and he writes a book on ornithology. relationship. Jesus was an iconoclast-as ieonoclastic as Another man sees a bird and he writes "Hark, hark, the lark science. He would do away with eiTrything that interfered at heaven's gate sings." The Dr. Barnes type of man may with that life, that relationship. Hate yom father and prove that there can be no gate of hcaYen; but the lark of the mother, sell all thnt you haYc, han' no care for the morrow, poet still sings at heaven's gate for l'\Try one who has cars let tbt• dead bury their dead-no expression was too strong to hear it. \Vhat Dr. Barnes and others eYcn more expe- for his purpose. Ilc was not a theologian; he was only in rienccd than he take to be religious conceptions based lcidcntally a teacher. He was first of all a leader. Th • gist on an antique idea of the uni1·crse arc poetic images employed of all he said wa~. "Come ad1·enture with me." So far ;1~ to express or suggest experiences that in other clays or by the churches fall short it i~ in the lack of Je~u~'s spirit of \ other people might be expre,sed or suggested by other poetic abandon. They offer entertainment when they might better images. At one period the Hebrew people were a pastoral offn the challenge "Come. we want your best." There i-, people. \Vhat more natural than that a poet should write many a man outside any ehurch, indifferent to c1cry creed. "The Lord is my Shepherd" or "The range of the mountains who is giving of his best to something bigger than himself in is his pasture." or (accustomed as herdsmen arc to watch the which he has faith-it may be to a boys' club or some public sky) "Canst thou bind the sweet influences of Cimah (the service-who would laugh if you called him religious. That Pleiades), or loose the bands of Ccsil (Orion)?" is because the churches l1a1e so largely confused religion with Dr. Barne is right, of course, in saying that our religious theology or with some code. Theologies change; codes conceptions should accord with our knowledge. Theologians change; but thee<; ence of religion, which is a kind of life. have taken poetic expressions of experience and built them remains the same. into dogmas and creeds and rituals and even codes of con 'Vhether a scientifie gathering is the place for a theological duct. And when they do that it is wholesome for some one discussion we leaYc to the scientists to d cidc. Dr. Osborn, to come alcng with a geologist's hammer and smash off the the retiring President of the A.A.A.S. thinks it is not. crust of theology, for only then will the experience of life Others think it is. ~lore and more it is becoming difficult beneath the crust be reYealed. Cone pts grow out of life. not to ereate intell ·ctual compartments-to wall off science from life out of concepts. ~Iusie comes fir~t. then the harmonic philosophy or t'ither from conceptions of religion. It is no and contrapuntal theories of musie. 'Vhcn rules of harmony longer as easy as it was to hold one set of ideas for six days and counterpoint dominate, the art of music languishes. It of the week. ancl another set for the sen·nth. Confused as is well then to haYC musical iconoclasts arrin• to knock off he seems to ha1e been in some of his thoughts, we are glad the shackles. But the old music out of which those rules that Dr. Barnes !>poke out. were formed is still b autifnl and Yalid; it is ~till music. The true scientist does not confuse the definition with the ry/' _,J::' , ~ -- thing defined. lie docs not deny beauty because science has ~~ ~ never defined it. Nor docs he confuse definition with knowl- ( }~ CHARACTER. "Foundations of habits (which means character) are laid in homes. • • • Good, honest, hard-headed character is a function of the home. If the proper seed is sown there and properly nour­ished for a few years, it will not be easy for that plant to be uprooted?. • • • We start with suppositions in judging character, intelligence, Eersonality. We must, of course •.•. Character seems to be an essence, a spirit, a core, a stuff, that defies analysis •... A limited repertoire of habits, an unlimited amount of emotion, and an enormous capacity to learn •• By the time one is old enough to vote-- whether it has learned what the ballot means or not-- it belongs to mother's church and father's party, and weare the clothes, thinks the thoughts, and swears by the flag the family and the community have wished on it. In short, its 'character' may be nil, its reputation fine." (Dorsey, Why We Behave ••• ) "Any attempt to explain or to describe man by a set of rules or by a special formula, or as cast in a given mold, is predes­tined to failure. Man is a something happening all the time, a going concern; he makes hie rules, revises his formulae, and recasts his mold in the act of being and while going. It is in man's nature that he does not stay put. Human behavior is individual behavior; • • • Instinctive behavior is insect behavior at its highest; human behavior, modi­fiable behavior at its highest. • • . We are born with certain instinoti ve aoti vi ties and emotional cr.paci ties • • • What seem clear-cut instinctive actions are learned or habit reactions based or built on some innate emotional response or on attack and defense reactions as old as life itself. And any attempt to describe human behavior in terms of such instincts is to try to catch birds by salting their tails • • • Man's chief impulse at each moment of hie existence is for life; self-preservation. At certain moments food-hunger dominates the self-preservation impulse, at other momenta sex-hunger dominates. But because of hie capacity to supplement his motor mechanism with tools, weapons and appliances, he was able to give his biologic impulses ever-changing outlets •.•• Man'e inheritance is all right and is his only inherently valuable asset. It is human behavior-- individual, communal, national--- that can be changed. • .• Man can learn. 11 (Ibid.) · PRINCIPLES. lp ------ Principle.-- A rule consciously and resolutely adopted as a guide to action when unqualified; a determined rule of right action, or habitual devotion to right as right; as, the principles of morality; a man of principle. (St. Diet.) "Since the generality of persons act from impulse, much more than from principle, men are neither eo good nor so bad as we are apt to think them. (A.W. and J.C.Hare.) Thou that uplifteet me. The bravest and noblest impulses of humanity. CHARACTER- Singleness of' Purpose- Dignity of' • .. • "The dignity that is always given to a character by a grand passion, whether for a cause, a woman, or an idea - the unification of' a whole life in a single aim, by which the separate strings of a man's nature are , as it were, tuned into harmony . 11 Moulton , l89 . PERSONALITY . The attributes, taken collectively, that make up the character and nature of an individual; that which distinguishes and charac­terizes a person. (St. Diet.) See CHARM. I~ PERSONAL APPEARANCE. Outward seeming or ~spect. AIR. The peculiar or characteristic appearance, mien, or manner of a person or thing. Syn.- Appearance, bearing; behavior, carriage, demeanor, expression, fC~.shion, loo.k, manner, mien. port, sort, style. way. Air is that combination of qualities which makes the entire impresaion we receive in a person's presence; as, we say, he has the air of.a scholar. or the air of a villain. Mien is closely synonymous with air, but less often used in a bad sense. We say a rakish air rather than a rakish mien. Mien may be used to express some prevailing feeling; as, "an indignant !Qi~.'· - Bearing is rather a lofty word; as, he has a noble bearing; Port is practically identical in meaning with bearing, but is more exclusively a literary word. Carriage, too, is generally used in a good sense; as, the lady has a good carr1age. Appearance refers more to t~e dress and other externals. We might say of a travel-soiled pedestrian, he has the appearance of a tramp, but the air of a gentleman. Expression and look especially refer to the ~ace. Expressio!}- is oftenest applled-ro-that which is habitual; as. he has a pleasant expression of countenance; look may be momentary (but, he had the . look of an adventurer; I d1d not like his looks). Demeanor goes beyond apkearance, including conduct, behavior; as, a modest demeanor. Manner and style are, in large part at least, acquired. Address is the manner of a ~erson in speaking or addressing. (See th1s heading.) Behavior is the manner of conducting oneself, whether good or bad, especially in the externals of life. Behavior is our action in the presence of others; conduct includes also that which is known only to ourselves and our Maker. Carriage expresses simply the manner of llolding the body, especially in sitting or walking. Bearing refers to the bodily expression of feeling or disposition; as, a hauehty bearing, a noble bearing. Demeanor is the oodily expression, not only of feelings, but of moral states; as, a devout demeanor. Breeding, unless with some adverse limitation, denotes that manner and conduct which result from ~ood birth and training. Deportment is behavior as. related to a set of rules. A person's manner m~y be that of ·a moment, o~ toward a single person; his manners are his habitual style of behavior to~ard or before others, especially in matters of etiquette and politeness; as, good manners are always pleasing. PHYSIQUE- Male. ll.jti,.._ ~ ¢-~-~ ~~:/ ~- • s PHYSIQUE- Female. CHILDREN . Swarming with weedy children, a rank but weakly growth. J I BEAUTY. Perfection of form, with softness of outline and delicacy of mold. There must also be harmony ~nd un1ty, and in human beings spiritual loveliness. to constitute an object or a person really beautiful. Pretty expresses to a far ~ess degree th~t which is ~leasing to refined tastes in objects comparatJ.vely small, slight and dainty. Fair denotes what is bright, smooth, clear and w1thout blem1~ The word applies solely to what is superf1cial. 7 Comely denotes an aspect that is smooth, gen1al, and whole­some, w1th a certain 1·u1ness of contour and pleasing symmetry, though fa~llng short of the beautiful. Pleasantand pleasing both refer to giv1ng pleasure, but w1th a difference in usage. A pleasant race 1s that of one who appears to fee~ pleasure and to be desirous to g ive pleasure. A pleasing face is one tha t pleases us by simple contour and expression. For Attractive. Agreeable, Amiable, Engaging, Winsome, Charming, Lovely. etc .• see under DISPOSITION. STRENGTH. Muscular, br~wny, Athletic. sinewy, well-knit, wiry (thin but tough and Robust, lusty, vi~orous, able-bodied, Stalwart, burly, powerful. Hardy. Enduring. endur1ng). rugged, sturdy. ... FEEBLENESS. Weak, weakly, feeble, frail,delicate. Soft, effem1nate, languid, alack, flaccid, flabby. Slender, slight. Nervous. unnerved, unstrung, irresolute. Broken, lame. Withered, palsied, tottery. drooping, rickety, infirm, wasted, decrepit, sickly, deb1litated, trembling • Jo DEFORHITY. NIMBLE. Light and quick in motion or action; showing easy qulck­ness; ag1le; dexterous; (2) intellectually alert or acute; quick of apprehension. Nimble refers to ~ightness, freedom. and quickness of motion within a somewhat narrow range, with readiness to turn suddenly to any point. Swift applies commonly to more sustained motion over greater distances. Agile: able to move or act qu1ckly, physically or mentally; active; n1mble; brisk. Jhen used of the mind often bnplying trickiness; as. an agile controversial1st. Antonyms: clwrsy, dilatory, dull, heavy. inactive. inert, slow. s~ug ish. unready. II 12 DEXTERITY. Adroitness carries more of the idea of eluding, parrying, or checking some hostile movement, or taking advantage of another in controversy; dexterity conveys the idea of doing, accomplishing something readily and well, without reference to any action of others Aptitude is a natural readiness, which by practice may be developed into dexterity. Skill is more exact to line, rule. and method than dexteritl· Dexteritv can not be communicated, and oftentimes can not even be explained by its possessor; skill to a very great extent can be imparted. Handy; having skill with the hands,or otherwise; apt at doing things. Clever; ready and adroit with hand or brain; capable. Elasticity. "But the imp of' a fellow yielded and recovered himself' in quick succession like a spring . " About. I GRACE. That char~cteristic or quality which renders the carriage, movement, form, manner, etc., elegant, appropr1ate, or charming. Graceful commonly sugeests motion; it applies to the per­fection of motion, especially of the lighter motions, which convey no suggestion of stress or strain, and are in harmonious curves. AWKWARDNESS. Ungraceful in bearing or person; ungainly; uncouth. Clumsy; bungling; inefficient. Embarrassing or embarrassed. Awkward primarily refers to action, clums;y to condition. The q_ll;lmSY, man is almost of necessity awkward, but the awkward man may not naturally be clumsy. The finest untrained colt /S is awkward; a horse that is clumsy in build can never be trained out of awkwardness. Clums;y is applied to movements that seem as unsuitable as those of benumbed and stiffened limbs: maladroit. Bungling.: performing in an awkward and blundering manner. Gawk;y; staring or otherwise behaving awkwardly and stupidly. Uncouth: marked by awkwardness or oddity; especially. appearing thus marked because of unfamiliarity; outlandish. Ungalnlz; lacking grace or ease. NEATNESS . That which is clean is simply free from soil or defilement ·of any kind; things are orderly when in due relation to other things, Tidy denotes that which conforms to propriety in general. Neat refers to that which is clean and tidy, with nothing superfluous, condpicuous, or showy. Nice is stronger than neat, implying value and beauty. Spruce is appl1ed to the show and affectation of neatness with a touch of smartness, and is always a term of mild contempt. Trim denotes a certain shapely and elegant firmness, often with suppleness and grace. Prim applies to a preciae. formal, affected nicety. Dapper is spruce with the suggestion of smallness and slightness. Natty, a dim1nut1ve of neat, sug~ests minute elegance, with a tendency toward the exquisite. 16" SLOVENLINESS. Carelessness and disorder of dress, or negligence of cleanliness. Dirty, dowdy, untidy. /8 HEAD- Male . /9 HEAD- Female . FACE, FEATURES - Male. For this war has done something to the faces of the men who have borne the brunt of it. An entirely new physiog­nomy has come into being-one that might be called the war face. All persons who have been in Europe since the fighting began must have noticed it. The expression of the features is unmistakable. It is not precisely a sternness or harshness or melancholy or anything of that sort, but a peculiar rigidity of the features and somber look in the eyes when the face is in repose. It is set like a seal upon those who have gazed upon terrific things and is rather like a mask drawn over the face, as if the mind back of it had learned how to hide its feelings behind a bomb-proof camouflage. But Gaston whipped this off and smiled on catching sight of me, and you would have thought from his buoyant and grateful manner that the President himself had come down to meet him. He was better looking than his pic­tures, a little above medium size, strongly built, with a square bony frame, good, straight, clean-cut features, lean cheeks and a pair of steady dark-blue eyes. Most of the time they were twinkling and brimming with high spirits, but let him grow thoughtful and contemplative for a moment and that war mask slipped on again unconsciously. () 21 FACE, FEATURES - Female • t a... J ; a ·G- •*' '..t,.,i. d~ 17 =• FOREHEAD . ''i/v.-~ ~ ~ ~~ ~~~ Cll¥) EYEBROWS. EYELASHES. NOSE • • 2J MOUTH. ~-~ (JitM~). TEETH. CHIN. 0 CHEEKS . .. Jl EARS . HAIR. ~-l.u.kt, BEARD . SKIN. "~~/ ~ ~. lif.,4. ~~, 4 Ill-~~.£..... _/ __ _ ... __ /tu:)..Ju,..J..P. ~ ~~~ .,.ui!.J;-~, ~-~~ c£~,"' ~ ,--,-- I MOLES, VTRINKLES. NECK . u) BODY, CONTOUR, PROPORTIONS- Male . BODY, CONTOUR, PROPORTIONS- Female. a LANK. Lean and sinewy men. These wiry men, thin but tough and enduring as a pack of hounds. A stringy individual in rusty garb. A thin, sharp-featured man. Spindling. Narrow-chested and flat-hipped. Gaunt. Poor. Spindling. Spare. Meager. Shriveled. Withered. Bony. Barebones. Raw-boned. Big protruding joints. Big wrists and Xnuckle-joints. Hatchet-faced. Lantern-jawed. A thin visage. Gaunt, pinched and grim. Emaciated. Walking skeleton. Mere skin and bones. Pinched .face. Thin and wan. Famished-looking. Starveling. Wasted figure. A cadaverous creature who looked as if a puff of wind would knock him down. Sallow. Pasty-faced. Tallow-faced. A sickly yellow face. SLENDER-SYMMETRICA~. Her slender 1 well-rounded figure. ATHLETIC BUILD. Symmetrical. Well formed. Well braced. Able-bodied. Muscular. Brawny. Burly. Powerful. Stalwart. Large and strong in frame. Of sturdy build and disposition. Lusty. Sturdy. Rugged. Vigorous. Abounding health. Lithe. Supple. Limber. Elastic. Lissom. Pliant. Willowy. Agile. Active. Nimble. Supple. Prompt. Quick. Speedy. Swift. Alert. Brisk. Quick. Lively. Mobile. Restless. Sprightly. Spry. Wide-awake. Dexterous. Clever. Handy. Skilful. Adroit. Apt. Expert. Facile. CHEST . BREASTS - Female . WAIST- Female . HIPS . ARMS. HANDS . LEGS . FEET . DRESS.-- Male. • I DRESS.-- Female. WOMAN-- Passon for Ado~mment. No man, perhaps, could have been chosen for the position ceditor of The Ladies• Home Journal] who had a less intimate know­ledge of women. Bok had no sister, no women confidantes; he had lived with and for his mother. She was the only woman he really knew or who really knew him. His boyhood days had been too full of poverty and struggle to permit him to mingle with the opposite sex. And it is a curious fact that Edward Bok 1s instinctive atti­tude toward women was that of avoidance. He did not dislike women, but it could not be said that he liked them. They had never inter­ested him. Of women, therefore, he knew little; of their needs less. Nor had he the slightest desire, even as an editor, to know them better, or to seek to understand them. Even at that age, he knew that, as a man, he could not, no matter what effort he might make, and he let it go at that. . .. A home was something Edward Bok did understand. He had always lived in one; had struggled to keep it together, and he knew every inch of the hard road that makes for domestic permanence amid adverse financial conditions. And at the home he aimed rather than at the woman in it. (The Americanization of Edward Bok, p.l68.) The strangling hold which the Paris couturiers had secured on the American woman in their absolute dictation as to her fashions in dress, had interested Edward Bok. for some time. As he studied the question, he was constantl:y amazed at the audacity with which these French dressmakers and milliners, often themselves of little taste and scant morals, cracked the whip, and the docility with which the American woruan blindly and unintelligently danced to their measure. . • • The Journal engaged the best-informed woman in Paris frankly to lay open the situation to the American women; she proved that the designs sent over by the so-called Paris arbiters of fashion were never worn by the Frenchwoman of birth and good taste; that they were especially designed and specifically intended for 11the bizarre American trade, 11 as one polite Frenchman called it; and that the only women in Paris who wore these grotesque and often immoderate styles were of the demimonde. Sarah Bernhardt was visiting the United States at the time, and Bok induced the great actress to verify the statements printed. She went farther and expressed amazement at the readiness with which the American woman had been duped; and indicated her horror on seeing Ametican women of refined sensibilities and position dressed in the gowns of the declasse street-women of Paris. • •• Bok called upon the American woman to come out from under the yoke of the French couturiers, show her patriotism, and encourage American design. But it was of no use .... One of his most intel­ligent woman-friends finally swmned up the situation for him: "You can rail against the Paris domination all you like; you can expose it for the fraud that it is, and we know that it is; but it is all t