Bernice Bobs Her Hair

After dark on Saturday night one could stand on the first tee of
the golf-course and see the country-club windows as a yellow
expanse over a very black and wavy ocean. The waves of this
ocean, so to speak, were the heads of many curious caddies, a few
of the more ingenious chauffeurs, the golf professional's deaf
sister--and there were usually several stray, diffident waves who
might have rolled inside had they so desired. This was the
gallery.

The balcony was inside. It consisted of the circle of wicker
chairs that lined the wall of the combination clubroom and
ballroom. At these Saturday-night dances it was largely feminine;
a great babel of middle-aged ladies with sharp eyes and icy
hearts behind lorgnettes and large bosoms. The main function of
the balcony was critical, it occasionally showed grudging
admiration, but never approval, for it is well known among ladies
over thirty-five that when the younger set dance in the
summer-time it is with the very worst intentions in the world,
and if they are not bombarded with stony eyes stray couples will
dance weird barbaric interludes in the corners, and the more
popular, more dangerous, girls will sometimes be kissed in the
parked limousines of unsuspecting dowagers.

But, after all, this critical circle is not close enough to the
stage to see the actors' faces and catch the subtler byplay. It
can only frown and lean, ask questions and make satisfactory
deductions from its set of postulates, such as the one which
states that every young man with a large income leads the life of
a hunted partridge. It never really appreciates the drama of the
shifting, semi-cruel world of adolescence. No; boxes,
orchestra-circle, principals, and chorus be represented by the
medley of faces and voices that sway to the plaintive African
rhythm of Dyer's dance orchestra.

>From sixteen-year-old Otis Ormonde, who has two more years at
Hill School, to G. Reece Stoddard, over whose bureau at home
hangs a Harvard law diploma; from little Madeleine Hogue, whose
hair still feels strange and uncomfortable on top of her head, to
Bessie MacRae, who has been the life of the party a little too
long--more than ten years--the medley is not only the centre of
the stage but contains the only people capable of getting an
unobstructed view of it.

With a flourish and a bang the music stops. The couples exchange
artificial, effortless smiles, facetiously repeat "LA-de-DA-DA
dum-DUM," and then the clatter of young feminine voices soars
over the burst of clapping.

A few disappointed stags caught in midfloor as they bad been
about to cut in subsided listlessly back to the walls, because
this was not like the riotous Christmas dances--these