B—She never leaned out except, perhaps, to flap a dust rag, because lean as she might, defying the laws of gravity and the house superintendent, she could have viewed nothing more than roofs and sky and chimneys where already roofs and sky and chimneys filled the eye (unless you consider that by screwing around and flattening one ear and the side of your jaw against the window jamb you could almost get a glimpse of distant green prominently mentioned in the agent's ad as "unexcelled view of Park").
C—The morning air wasn't perfumed for purposes of breathing deep, being New York morning air, richly laden with the smell of warm asphalt, smoke, gas, and, when the wind was right, the glue factory on the Jersey shore across the river.
D—She didn't pluck a rose, carolling, because even if, by some magic Burbankian process, Jack's bean-stalk had been made rose-bearing it would have been hard put to it to reach this skyscraper home.
E—If she had flung it, it probably would have ended its eleven-story flight in the hand cart of Messinger's butcher boy, who usually made his first Fifty-sixth Street delivery at about that time.
F—The white rose would not have been jewelled and sparkling with the dews of dawn, anyway, as at Harrietta's rising hour (between 10.30 and 11.30 A. M.) the New York City dews, if any, have left for the day.
Spartans who rise regularly at the chaste hour of seven will now regard Harrietta with disapproval. These should be told that Harrietta never got to bed before twelve-thirty nor to sleep before two-thirty, which, on an eight-hour sleep count, should even things up somewhat in their minds. They must know, too, that in one corner of her white-and-blue bathroom reposed a pair of wooden dumb-bells, their ankles neatly crossed. She used them daily. Also she bathed, massaged, exercised, took facial and electric treatments; worked like a slave; lived like an athlete in training in order to preserve her hair, skin, teeth, and figure; almost never ate what she wanted nor as much as she liked.
That earlier lady of the closed casement and the white rose probably never even heard of a dentifrice or a cold shower.
The result of Harrietta's rigours was that now, at thirty-seven, she could pass for twenty-seven on Fifth Avenue at five o'clock (flesh-pink, single-mesh face veil); twenty-five at a small dinner (rose-coloured shades over the candles), and twenty-two, easily, behind the amber footlights.
You will have guessed that Harrietta, the Heroine, is none other than Harrietta Fuller, deftest of comediennes, whom you have seen in one or all of those slim little plays in which she has made a name but no money to speak of, being handicapped for the American stage by her intelligence and her humour sense, and, as she would tell you, by her very name itself.
"Harrietta Fuller! Don't you see what I mean?" she would say. "In the first place, it's hard to remember. And it lacks force. Or maybe rhythm. It doesn't clink. It sort of humps in the middle. A name should flow. Take a name like Barrymore—or Bernhardt—or Duse—you can't forget them. Oh, I'm not comparing myself to them. Don't be funny. I just mean—why, take Harrietta alone. It's deadly. A Thackeray miss, all black silk mitts and white cotton stockings. Long ago, in the beginning, I thought of shortening it. But Harriet Fuller sounds like a school-teacher, doesn't it? And Hattie Fuller makes me think, somehow, of a burlesque actress. You know. 'Hattie Fuller and Her Bouncing Belles.'"