Class Act

THERE was an extraordinary hurry of the footman to alight, pull down the steps, and prepare every thing for the descent on earth of this august family. The old citizen first emerged his round red face from out the door, looking about him with the pompous air of a man accustomed to rule on ’Change,* and shake the Stock Market with a nod. His consort, a fine, fleshy, comfortable dame, followed him. Life was to her a perpetual revel; it was one long Lord Mayor’s day. Two daughters succeeded to this goodly couple. They descended loftily from the carriage, and moved up the line of peasantry with a step that seemed dainty of the soil it trod on. They cast an exclusive glance around, that passed coldly over the burly faces of the peasantry, until they met the eyes of the nobleman’s family, when their countenances immediately brightened into smiles, and they made the most profound and elegant courtesies, which were returned in a manner that showed they were but slight acquaintances.

abridged

Abridged from ‘The Sketch-Book of Geoffrey Crayon’ (1820, 1905) by Washington Irving (1783-1859).

* That is, the Stock Exchange.

Précis
The appearance of the passengers from within the carriage did nothing to change Irving’s unfavourable first impressions. The City man was full of bluster, his wife cheerfully out of place, and his daughters would not meet any eye except the eyes of their titled neighbours — who seemed, however, as eager as good breeding allowed not to meet theirs.
Questions for Critics

1. What is the author aiming to achieve in writing this?

2. Note any words, devices or turns of phrase that strike you. How do they help the author communicate his ideas more effectively?

3. What impression does this passage make on you? How might you put that impression into words?

Based on The English Critic (1939) by NL Clay, drawing on The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910, by J. E. Spingarn, Professor of Comparative Literature in Columbia University, USA.

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