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I. The Weaker Sex.
The first drawing of this series gives a necessarily imperfect portrait of the hero, since he is discovered in the act of carrying on two conversations at a time.
II. The Weaker Sex.
The second drawing gives us no better portrait of the hero than the first. We may conjecture, however, that, being a bachelor, the experience depicted in the first drawing has impaired the young man's sleep. He probably imagines himself the latest victim of some fair entomologist.
III. The Weaker Sex.
In the third drawing of this series we get a portrait of the hero. But he is again in a distressing dilemma. Just as he is advised by his physician to avoid all excitement, a young person enters and he develops further alarming symptoms, whereupon an immediate change of scene is prescribed.
IV. The Weaker Sex.
In pursuance of the advice of his physicians, our hero starts on his journey in search of rest, but at the very outset finds himself confronted by another distressing circumstance: His seat in the parlor car is next to Miss Peachem, for whom he has always had the most profound regard.
V. The Weaker Sex.
Arriving at his journey's end, he meets an old friend who insists on taking him home and introducing him to his daughters.
VI. The Weaker Sex.
After a vain search for rest and quiet, he falls into a most sensitive condition and suffers from the cold.
VII. The Weaker Sex.
He takes a hand at bridge and has difficulty in keeping his mind on the game, with the result that he repeatedly trumps his partner's tricks.
VIII. The Weaker Sex.
He goes to the play, but finds it impossible to become interested in the piece.
IX. The Weaker Sex.
He suddenly loses all interest in foot-ball.
X. The Weaker Sex.
Having determined to settle down, we leave him in the act of deciding upon an object of his affection.
Excerpted from Eighty Drawings Including the Weaker Sex by Charles Dana Gibson. Copyright © 2013 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
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