• TABLE OF CONTENTS
HIDE
 Front Cover
 Front Matter
 Title Page
 Dedication
 Preface
 Table of Contents
 Personality
 Habits that annoy
 Background
 Personal appearance
 Faring forth
 At dinner
 Voice and conversation
 Introductions
 Travel
 Correspondence
 Index
 Back Matter
 Back Cover














Title: What do I do now?
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Permanent Link: http://ufdc.ufl.edu/UF00098590/00001
 Material Information
Title: What do I do now? A guide to correct conduct and dress for business people
Physical Description: vii, 120 p. : diagrs. ; 21 cm.
Language: English
Creator: Payne, Mildred M.
Publisher: Gregg Pub. Co.
Place of Publication: New York
Publication Date: c1940
 Subjects
Subject: Etiquette   ( lcsh )
Genre: non-fiction   ( marcgt )
 Notes
Statement of Responsibility: by Mildred M. Payne.
 Record Information
Bibliographic ID: UF00098590
Volume ID: VID00001
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 02216889
lccn - 40005554

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Table of Contents
    Front Cover
        Front Cover 1
        Front Cover 2
    Front Matter
        Front Matter 1
        Front Matter 2
    Title Page
        Page i
        Page ii
    Dedication
        Page iii
        Page iv
    Preface
        Page v
        Page vi
    Table of Contents
        Page vii
        Page viii
    Personality
        Page 1
        Page 2
        Page 3
        Page 4
        Page 5
        Page 6
    Habits that annoy
        Page 7
        Page 8
        Page 9
        Page 10
        Page 11
        Page 12
        Page 13
        Page 14
        Page 15
        Page 16
        Page 17
        Page 18
        Page 19
        Page 20
        Page 21
    Background
        Page 22
        Page 23
        Page 24
        Page 25
        Page 26
        Page 27
        Page 28
        Page 29
    Personal appearance
        Page 30
        Page 31
        Page 32
        Page 33
        Page 34
        Page 35
        Page 36
        Page 37
        Page 38
        Page 39
        Page 40
        Page 41
        Page 42
        Page 43
        Page 44
        Page 45
        Page 46
        Page 47
    Faring forth
        Page 48
        Page 49
        Page 50
        Page 51
        Page 52
        Page 53
        Page 54
        Page 55
        Page 56
        Page 57
        Page 58
        Page 59
        Page 60
    At dinner
        Page 61
        Page 62
        Page 63
        Page 64
        Page 65
        Page 66
        Page 67
        Page 68
        Page 69
        Page 70
        Page 71
    Voice and conversation
        Page 72
        Page 73
        Page 74
        Page 75
        Page 76
    Introductions
        Page 77
        Page 78
        Page 79
        Page 80
        Page 81
        Page 82
        Page 83
        Page 84
    Travel
        Page 85
        Page 86
        Page 87
        Page 88
        Page 89
        Page 90
        Page 91
        Page 92
        Page 93
        Page 94
        Page 95
        Page 96
        Page 97
        Page 98
        Page 99
    Correspondence
        Page 100
        Page 101
        Page 102
        Page 103
        Page 104
        Page 105
        Page 106
        Page 107
        Page 108
        Page 109
        Page 110
        Page 111
        Page 112
        Page 113
        Page 114
        Page 115
        Page 116
    Index
        Page 117
        Page 118
        Page 119
        Page 120
    Back Matter
        Page 121
        Page 122
    Back Cover
        Page 123
        Page 124
Full Text













UNIVERSITY


OF
LI


FLORIDA
BRARY











What Do I Do Now?


A GUIDE

TO CORRECT CONDUCT AND

DRESS FOR BUSINESS PEOPLE


MILDRED MI. PAYNE

'i.struc(tor oC St inograpla, OffTic Proic-
t,. BuMit'' E'liuit".- St..te T aarhenri
CopiIee, Kl.:tnney, N\'bra...a


THE GREGG PUBLISHING COMPANY

NEW' YORK CHICAGO BOsTON SAN FRANCISCO

TORONTO LONDON SYDNEY
















CP31/4.v







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THi E GtPEGt, I'tePBLId IC. Sta t'P.NI

B-ri,:-K P-3






















PrnIr l / ti Unritedi Stltcs of .Antrcaa






























DEDICATED TO

Floy Carroll aLrl Dorothy McCall


SC c








PREFACE


THE MATERIAL IN THIS BOOK HAS BEEN USID FOR OVERALL
\ ears in an effort to improve the personalities of prospec-
tike office workers and teachers.
While the author w\;s a student athe Universitv of
Iowa, an indelible impression was made upon her Ilind
b\' tlie follow\ ing, stati-inent made by her instructor. Dr.
E. C. Blackstone: "'A desirable personality is the out-
growthl of direct traiiiiin, in traits." As a result of this
impression. the author selected and analyzed the per-
sonalit\ traits most often stressed b\ businee-imen and
educators, in order that students rna be helped to ac-
quire these traits most effectively.
Answers to the questions that students ha\e asked
are incorporated in this book in the hope that others
may be Ielped to solve their personality\ problems.
President Herbert L. Cushing, of the State Teachers
College at Kearney. Nebraska, has given constant en-
cot.ragement and has made it possible to eliminate the
impractical from this book by thl use of the Teachers
College as a laboratory. To him. deep appreciation i4
expressed.
Grateful ackn-owledgment is also made to Miss Le-






vi WHAT DO I DO NOW?

nore Sittler for her helpful suggestions and criticisms:
to Miss Estelene Harris, Miss Grace Matthews.. Miss
Mina Shocks, and Miss Arlene Christeinsen for their
p.linstaking clerical assistance; a nd to all the students
\\ho ha'e helped in the production of this book.
For their generous contribution of informative ma-
tcrial, the author is indc-bted to B. Kupp[enheimer &
Co., Inc.; Hart Schaliner & lMarx Cluett, Peabody &
Co.. Iic.; John B. Stetson Compairn. thle Pullman Com-
pa'ny" Union PaciiRc Railroad Conmpany. Greyhlound
Lines; United Air Liies; Anierica-n Airlines: American
Express Company;; and tlle California Fruit Growers
Exchange.
NIILDFRED NI. PAYNE












CONTENTS


P.;\ E
1. PERSON.-LITY. . . . 1
2. HABITS THAT ANNOY . . 7
3. BACKROND. . . 22
4. PERSONAL AFPEkNCE. . . 30
5. F.A IN(G F TH . 48
6. AT DINNER . . . . 61
7. VOICE AND CONGESTION . . 72
8. INTRODUCTIONS . . . . 77
9. TRAVEL . . . 85
10. CORRESPONDENCE . . . 100
INDEX. . . . 117








I 1


PERSONALITY



THIE \OEDn PERSON \LITY" 1 ON EVERYONE'S LIPS TODAY.
In asking for information about prospective employees,
employers use the terms "pleasing personality," "inter-
esting personality," "desirable personality," and "un-
dt sirable personality." In this connection, the following
excerpt from the New York Times is of unusual in-
tt.rest.
"Bad manners, bad personality and character traits have
lost more jobs for beginners and employees in commercial
jobs than has lack of ability or mechanical skill," said
G\v\nne A. Prosser of the American Institute of Banking.
Mr. Prosser has had more than ten years' experience in
personnel work.
"In a survey of employees who were dismissed from
seventy-six firms, only 10 per cent lost their jobs because
thc\ lacked mechanical skill," Mr. Prosser said, taking his
figres from a study made by H. Chanler Hunt on causes
of unemployment. "The other 90 per cent did not fit their
jobs because of poor character traits."

Students, therefore, must be trained in those traits
that are socially desirable.
I November 14, 1937.






WHAT DO I DO NOW?


Character
\hat is icharacte" ? Does it lmeanr the same as "per-
sonahlltt '? To maIn people the word "character" has a
moral signifiearice. If a person is said to Iave a good
character. lie is tliho:.ght of as morally good; while e if
he is said to haie a'n undesiirable elaracter, tih opposite
is understood. YL.t maln\ persons \\ io lia\i exceptionally ll
good characters have personalities thit are most un-
-attiactive, \hile a \illain. until he is found out. ma\
impress e% ervyore by his pleasing personality Peisonal-
it\" includes muchi more tlian the telm characterl'"
though character is an miportaint factor in personality.

Intelligence
If a person is of good character and is intelligent-and
by "intelligent' is meant his ability to acquire and to
apply kjnowledge-thlen, does he neeessarily ha.e a
desirable personality? Betllction reveals that lie does
not, for som:e highly iiintelligent persons of good char-
acter make favorable imnpresssio:ns, while other highly
intelligent persons of good character make most un-
fa\orable impressions. One \who is mentally deficient
suielv cannot be said to be interesting; but neither can
this be said of a pedant. Although a pedant is highly
intellectual, he is often extremely boresnrne, because
he feels that lie must make a display of hiis leairnimg.
Intelligernce in its true meanlling undoubtedly is a factor






PERSONALITY


that must be considered in the explanation ot tihe teimi
"personality."

Physical Make-up
Does thle physical make-up of a person also influence
his peir.onalith ?
Child rei \iho de iate Zreatly ii size aid .a1ppearancet
ornom their conmiparnions i lle manr1 \ prfoldlene s con ront-
iiing them. The \eiak.l unldersized child. becas- is e i.
slu.bjected to ridicule bi hIis p'laNirnates. ina\ develop
into a rneek, pu-rposC lens adullt; or he nia\ become stub-
boin and viciou-. He ra.i\. ]o\ve\ er. bec.r.u-ie of the lack
of adniti.ilton froi his asoci.ite- strl\ e to ecel in ath-
letic,, nmu;ic. or school work in order to \\iiin approval.
The attractive. well-built child also has his problems.
If lie has been idolized b\ Ihis Ilai mates, he ma\ de-
%elop into a capable leader- or he rna\ becorne a selfish.
doniineeririn adult.
Arr4ongl the fellow students in one of the author's
classes at the uni\ leiitv \\.15 a \oli' r!illan \lho1 at each
irecitation attempted to refute the ;tatemerniit; of the
instructor. e\en at times intclruptirn the lecture to do
so. This "queer personality \' was a short, thin-faced man.
\v.ith illmense ears that stood out from his head. E\ i-
dentl v as a bo\ this iiari had l been tioo small to fight
in the Iusuial wa\, and lie was still fighting i, the only
wa\ he I had ever known. His habit of ariuinilg had made
him11 a highly unlde-irahle person. Hoxw unfortunate for






WHAT DO I DO NOW?


him that lie had not acquired some desirable habit that
would ha-e made others admire hirn despite his size
and tplpearance. Indeed, a person's physical make-up
has niuch to do with his personality.

Personality Rating
Personality consists of all the characteristics and habits
-mental, physical, social, and emotional-that a per-
son has that make him different from any other person.
Each person, whetherr he realizes it or not, is constantly
judging or being judged by everyone e he meets. Each
has standards of conduct that he thinks are desirable,
and lie judges according to these standards. Each judges
in terms of "self," his own personality; and since each
one is dominated by his own peculiarities, each judges
in a different way. Personal mannerisms that appeal to
one ma' be disliked by another. This makes the rating
of personality v\er difficult. Certain standards of be-
havior and dress, however, are unifonn and have been
accepted by society in general. These standards are
called the "conventions." The more that one kno\vs of
the conventions, the more competent he is to judge
others, and the more he will realize how he himself is
being judged.

Self-analysis and Correct Attitude
A young man once asked for a frank opinion of a busi-
ness letter he had written. The letter was clear and to






PERSONALITY


the point, but it was written on note paper. When it
\was suggested that his letter would make a better im-
pression if it %ere -t. ped on business stationer he made
the following reply, "\\hen I look around at older peo-
ple who have good positions, I wonder if such little
things make so muc-h difference.t
This young man's altitude is not unusual, though suc-
cess or failure now, when so many persons are striking
for the same position, often rests upon some one thing
that. on the surface, appears as insignificant as the use
of note paper in business correspondence appeared to
this vouIng man untrained in such matters. S\erepuig
conclusions must not be made hastily -and without
thouIght. Often an analysis of the problem changes the
attitude, as it did with this young man.
Success in lbusiress. professional, and social life de-
pends on the ability to make the right impressions and
to adjust oneself to people aid to existing conditions.
Each person must analyze himself to detennine howo
his habits. mental and ph\ sical. can be improved. \'hen
this analysis is made, however, he must have the right
attitude; he must want to improve. There will be no
improvement if the alt;itde is. 'Well. \hat if I do ha e
habits that some people don't like, I guess I'm not so
bad. There are a lot of fellows worse than I am." The
correct attitude is important. People cannot be forced
to improve their personalities. Some persons seem "defi-
nitely detennined to be mediocre."






WHAT DO I DO NOW?


Allow No Exceptions
If the attitude is right. and the person is determined to
collect his undesirable habits as he discovers them or
as thev are called to his attention. then he must not at
fnst allow any exceptions in his piocedIurc. He must
make the desired reactions to specific situations in the
same aill v time annd again, until these habits of acting
ald thinking are well established.

Poise
Poise, whicl is so important in all situations. may be
acquired as a result of s-ltI-confidence. but a person
cannot have confidence in himself when he is always
afraid that he doesn't know. If a person has careless
habits, he fails when he most wants to make the right
impression, but if his habits are those that are socially
acceptablrl his mind is free to concentrate on other im-
portant things. Knowing the accepted procedure aind
knowing that this procedure is automatic give a feelill.n
of security that contributes greatly to one's poise.













HABITS THAT ANNOY


AL.LNtST EVERYONE, WHETHER HE REALIZES IT OR NOT, H '~
Ianllnerisms tihat are aIinRo\ iing to his associates. Several
Searz ago tlhe author \\a. discussing this subject with a
friend. She .a-ked tlie friend to tell her what habit she
had that distinctly alno\ed her. To her astonishment
this is what the friend said:
'Y ou \\rite sliortlharnd all the time anyone is talking
with \yu.. You don't use a pencil or pen, but your hand
is rmnuj ing on a dek. the arria of a chair, or on anything
that is neat \oiu. At first. I didn't realize what you were
doing. but when I did. I always had a 'what you say
hler'. later mi \ be used against \ou' feeling, and it often
restrained ine fruio, saying \\hat I intended to say."
Until that moment the author was not conscious of
this habit that r-i doubt had annoyed her friends for
years. She ihrnindiatcl\ set to work to correct it, and
\\ith her friend's help, after several years of hard work,
she succeeded. Her greatest regret, however, is that this
habit x\as not called to her attention earlier, before it
was <; finnl\ established How much easier it would
Iha e been to have corrected it then.
7







WHAT DO I DO NOW?


Young people are often criticized adversely by older
people. but this criticism many times is not taken seri-
ously. The attitude is. 'Older people forget that they
were \ young once. Young people know -each other and
understand. What I do doesn't annov rn\ friends!" But
is this true? Apparently. it is not.
The mnatt ial in this chapter has been written bv stu-
dents about their own friends. These comments may
make \'ou aware of \our own careless habits. As \ou
read. ask vouiself. "\'hat do m\ friends think of me?"
"Which of these anno ingt habits do I ha\e?"

Tlum.s I \\'Wisr Mv FRiEND \\'OULS'"T Do
M\ friend has manr\ Gne qualities. She has one habit that
initates rue. ho\'.e\er: W\henever we are goiTng any; here,
she grabs ni\ arm and s%%ings me around or gi;cs me a
push w\ihen she is lead; to start, regardless of \%hom I'm
speaking to or wlietrhr I'm read\ or not. This annoys me
wcr\ much and gixes me a feelidr of inferiority.


M', friend al\va\s kno.?s ecr\thing-there is nothing
I c.n tell her that shlie doesn't already\ krno\. Many times
she i, right: hut Mihen I do ind out something she doesn't
kno'., I wish she would gite nie the chance to tell it with-
outt saying, "I thought that was it!'


I do not like to ha;e my friend monopolize In\ time and
tr\ to keep all mv other friends away. I \want her to have
other friends, and I \vant to Ihae more than one friend.






HABITS THAT ANNOY


Also. when I meet her on the street. I \ish -she would make
up hei mind to speak to me every time oc not to speak at
all. NM\ friend seems \eti\ haid to understand at times.


One of ni\ friends has a habit ot making elaborate ex-
planations about etervthing-. Sometimes ni\ reaction is that
things didn't happen that \iay at all but that her stocv is
the \vay she \ inshs it had been. or the \wav slie thinks I'd
lhae pleterred it to be- so I a1i ne\er quite sure ho\i it
really \as. This sounds lather insignificant on paper. but
this habit of hiis is plo\o:king.


I wish my roommate \wouldn't ask to borro\\ monei. al-
though she a ks onl\ for small sums. I also \ ish sh,
wouldn't ask to wear nmi\ clothes %when she has plenty ot
her o\\n-if she wvou.ld 'onl keep their clean and pressed.


IMy friend has the habit of former woi-rtins about
grades. This is \erN annoying to me. espcciall\ since the
grades she ha, at the end of the qluaitc- are uever below P.


I wish nm fiiend iomuld not be *o pessimistic about
things. No matter %hat it is. she never hopes for or expects
thl best. She thinks that theie is soinmeithiuig VT trn I \ith
eveitlhing she does, sa\s. or \\ears: arnd sheh shuns an\ snit
of paise.


I wish in fic-nd wouldn't alb\ais insist on having lho
\sa\ all the time. I wish w\e could do \\liat she likes one







WHAT DO I DO NOW?


time, arid %%hat I like the ni:\xt time. I enjoy musical c-nter-
tailnmints- and when \me attend one I insih sie would
refrain from talking all through it.


Ni friend has \ery good'i: taste in clothes and is al\.avs
n ea tl dressed. I like her in eierl" \wai except fur one thing
-slie will leave' he-r Ihardkercl ii'f l. ing around. I wish
thiat someone w\o:ulId call tilrs aLinovirn habit to her attrin-
tion.


Ml' friend is n very fine-lookinrig yellow and is \vervy gen-
eroiis to me. lie is polite and al\waysl dresses neatly. I-le is
punctu.al a.nd one can rel\ upo,:n himn to do tilings properly .
He is iit-Iligent and spends hiis sparc time in rec-ding or
stud\'. The one tlini I \1i.sh niv friend x\ouldn't do is
inteinllipt a person \\iho is talking arnd say that lie hirni'elf
lhad the saiie c:\pric:-ce in his home to\n. That gets very
monotornous, aid a person soon doubts the stories he tells.
e l:n it t!e\' rieall\ are true If iri\ friend could overcome
this habit. I think that IIe \vol Id be peifect.


MN friend i' %er \' attractive p:-rson. Slic kni\n s how
to \\ea her clothes andl knows the type of clothes ultable
for her. She- is always \ell groomed and has excellent man-
ners. She has a pleasaiit personalilih, w-ell roundcld by se'-
eral guod lobbies. But there is one thin' that I \\ish she
cwouldin't do. Shi: is cornsta.nt patronii'inr, Shie will sa.i
'Oh. \,:u were really able to do th.it b\ yourself.' It
is a little thing but it detracts a great deial from her per-
sonn lit-.






HABITS THAT ANNOY 11

One thing that rnm friend does that I dislike is as
follows: As soon as %e get a good radio piogiam % ith polp-
ilar songs, he immediately starts sihiinr-and he criimiio
sing. Another thing: he talks to me and ask-. m,: qlestions
ihlile I am stiidying.


I have a vel\ sincere friend. but she always sniffles when-
ever she appcacrs in public. It is mnerels a nervous habit.
but it is ~erN e-nbarra.siiu to me and her otlicr friends.


I u ish m\ tliend v. ho takes great pi ide in hei ability as
a hostess. would not sa\ ;\hern one refuses to take a second
helping or e\ei, a frst helping ot food one does not care
for. "But it's good for you-its caloric cointett is so and so."


I have a 2irl friend \hho has a pleasing personality, is
pietty, dresses a\ill. and uisuially hals good manners. Ho\\-
ever. she does one thiiig that I wish she \woi.ldn't do. \\ien
we go to a sho\\. she often becomes excited and cheers the
hero or the heroine in an exciting part of the picture. W\'hen
she does this, people itin and smile. and that einbarrass'-s
botli of us. Of course, she does it onl because she s becomes
interested in the picture and forgets herself: but just the
,same. I \vish she \\oildn't do it.


I \ish nm\ best friend \ollld not bite her lips \\hen she
is apparently meditating. on a difficult siubl'lect. Because of
this bad habit. her lips are slightly rounded and have ac-
quired a bluish color






WHAT DO I DO NOW?


IMy friend is a fine lad. He aiwa\; dresses to look his
best. He is a good-hearted, hard-wor king chap. but there
:re two thin-s I wish he wouldn't do. use poetry in personal
conversation: and coitirually bring up all his cood grades,
forgetting. of course, the poor ones.


I dislike to have rm friend al\wa\ cori-cting my English:
and when I am talking with soineone. I hate to have her
correcting rne on sonie narnmen I have inispronounced.


One of my best friends has a vejv pleasing personality.
but he has one bad habit-he talks continually about the
things he or some member of his family has don.:. A few
of these stories don't bother me, but after so long a time it
is very boresome to have to listen to th,:-m. He doesn't mean
to annoy with these stories, but lie reallN doesn't realize
that they do irritate people. If someone would only tell
him, I'm sure he'd be a friend second to none.


My friend annoys ime by interrupting me while I am
talking, and I wish people v wouldn't look as if they were
bored or amused at mistakes I make in English. They prob-
ably make as many as I do-ma he mnie.


I cannot think of many things \rTong %witl m\ gcil friend.
but she has one habit I don't itke. She is always pointing
out people's faults to me. and I do my best to show her
their good points. The result is. of course, an argument. I
wish that we didn't argue this way.







HABITS THAT ANNOY 13
I have a friend who is a nice lad-mannerly. a good
sport. intelligent. and w itt': but he has the habit of keep-
inm time to mijusic with his teel or hands. It is \er\ annrov'-
ing. especially in theaters or public places. I wish lie
%wouldn't do it


I vish nmy friend would be more prompt in answering nv
letters. She \as myn brst roommate in college and because
of our padt friendliip I w\\ish so much that she would write
to me more frequently.


I 'ishi pe..:ple would be more careful about their table
nialners. especially. at the cafeteria. Some outstanding
faults are: talking and laughing \with food in the mouth.
chewing food noisily, twisting paper napkins and throwing
them in glasses or cups. tapping on the table, and playing
\\ith sil\er or the water glass.


My friend would rather be right than polite! He talks
in such positive tones. when he wants something done. and
he is so particular about details. He tells me that I iiever
hIa\e had am trouble and proceeds to tell me of the trou-
bles lie hais had. He talks with \ uch an air of antagonism. I
do wish he knew how uncomfortable he ofteii makes me
feel.


W'e choose friends because of their likahle qualities.
This particular friend is w\itty. sweet-tc-rpered. and quiet.
She is interesting to talk with because e she omits tli un-







WHAT DO I DO NOW?


complimentaritr things about others. I never feel conspicu-
ous while in her company in public. Despite all these good
qualitie, I know I should like her better if she did not
ha\e the habit of asking me to change rm plans so I cani
go with her later; then she fongets o nI appointment, leav-
inr me to find it out so late that I hate to omit that activity
fiom my da\'s program. She calls it forgetfulness and does
not siein to realize my\ disappointment.


lMv friend has one rma loIr fault. thoui.,h she is \erv sweet
and is an; thing hut two-faced or sclfili. That is jui.t it; .he
is too iunslfisll! She would gi e her last cent to aln\one
just for the askin-2, and she think' that e\er\one else is
the same a\\\. It is \e\i hard to sa\ anything to hel \\hen
she feels this \\"a. But I ha'e always been tauliht that. if
you don t like to lend, don't bor-row, so I nrc\er borrow.
\What would \ou do in a case like this?


N1\ friend arnd I La,.e beeri' ac-'uainted for years: \we have
main\ interests in common, biut she has one faultt that gi\es
me man\ enibaiilasing moments. W\\'len \e are "ith a
.ro'.p, rm, friend may suddenly become anri\ at some-
tiiing that slie hn,'i ;nes has been said abc'ut hIer. She will
not sa'v another \word all evening. After I hla'e explained
what tlic person meant, she nii mediate 'l becomes her old,
gay, self gaini. I ish inm friend would d trN to overcome
this childish al bit.


She is a charimingn gill, \eil dressed, .ala\ s loomed to
the ntli degree, a n gai-nd sport, and cryi brond-minded. \\c







HABITS THAT ANNOY


are the sami a-:t- \me like swimming. bicycle riding, nmo\ ie
going. hiking. and Jdarincii. But she- does one thJiii ta.t I
dislike: she points at people, showicases, or aiirthing i else
that attracts her :attention o,: the spur ol tlhe: moment. She
does this ala\ys iii a :ry' conspicuous place.


\Vher mi\ friend sl.rts to' tell something, I fed th-:t I
sliioM hel h iher .lloing bis supplyiing wordl here .andt there
but Co (ouise? I Iec )r do I. She g,:ts e:i-ron:c's att:-ention
b\ startinii to till of some mnc:ident: tlrii, in thle middle of
the ctori. she becomes interested in her firlierri.ils or Iher
dre-ss sl:eec ort her rirng. As i result. a person hais to sit a.in
v. watch her pla. v, ith these ti;rnl whvlile sh l hies to think
of \vat she is goinrj to saj She Fills in the gaps with "ja s,"
an arid ah's." not ci\ nig an\'one a calnce to make- belir e
shei has finrhied \\Whenr sie Finallo ets throuach wt.itl the
stor-i it i; si- chopped up and len'itlti that ore can't esen
elinemnber ,lhaut it \ws .-ibout.


1 haie a er', g'i'd lt ri id. She is sincere in c\er\ respect
aiid weIould 2al.dl do a.ihinir g for mne. but slhe has t\wo
faults that are -s ai riti,' mg. E\ei\' time '.e go out ac-
companied by othiiers. n\ firki Id begins to, talk ot her past
e.peclrieii:s that the rest ,,'' us knw nothi:,tlii about. She
tells thte same thing over and over ugailn. To -ain attention
in the presence otf others. slie raises her voice until c- ern-
onr, e i the loom can hear. I do \wish shei- wouldn't do that.


I hal .a frIcnid 1ho i a.ittractive. intelligent. and1 has a
\er\ nice perrsonlith, but there is one thin.g- I wish she






WHAT DO I DO NOW?


wouldn't do. She chews gum constantly. The worst of it
is that she isn't careful how she cheLw it. She opens hi:r
mouth wide and chews the rum hard. making it crack.
Should I be frank and tell her how it looks arid sounds, or
just let it go on?


I have a ver\ fine friend who ik attractive, generous, and,
most of the time, a grand companion. Of course. she is not
perfect. One little lault that particularly uritates me is the
fact that she whispers continually\ during a part' or a show.
This makes me feel conspicuous. If she has any comments
to make. she could wait until we gZt home. I havi told her
how this annoys me. but it seems tu have no effect on her.


A verv good friend of mine continually talks about her-
self. No matter what is spoken of. she in some way' relates
it to herself. She does not have a very large circle of friends.
and I think tjei reason probably is that she is too self-
centered.
0 0 0

Although he is not tall. dark. and handsome. my friend
is nice-lookinrg anrd dre,,c-s well. If I.Q.' mean anything.
lie is e\ccptionallv intelligent: and I know from experience
that he is a very interesting and clever convert.ationalist.
He does not drink or smoke, and lih is one of the most cour-
teous young men on the campus. .nd ye t. in spite of all
his good points, I don't believe I will e\er dance with him
again-not because he is not a good dancer. but because of
his irritating habit of continually humminl'g under his breath






HABITS THAT ANNOY


in a monotonous, off-pitch tone. I just canL't 'tand that in-
eessant hum!

NIv best friend has one bad habit. She does not listen
whern someone is talking to her. and may even interrupt a
personr in the middle of a stetenice.


MYl friend's fault is the way she walks. She plods along.
I guess that she puts her \whole foot do.'n at once. I wish
that she would pay more attention to her posture too.


Mv friend is nice-looking: she is poised arnd has good
taste ir, clothing. She is veri frank, paiticularl% about the
faults of others. and she is too inquisitive. She must know
ever detail about the new wardrobe, including the price
of eac'h article and the reason for choosing that particular
color. She asks questions about e\cry thing. People do not
like to \%ear anrithinr rnew when they expect to see her.
because they know the will be bombarded with ques-
tions.


Ml gill fiend is niec-loolhin arid Iiis a pleasing smile
:for cvei onic. She dresses niielC' and cliooses lier clothes
\well-witl one exception. I do ,wi-h she wouldn't \wear
knee hose. for it gre.itl. detracts from her appearance by
invariablv show ing tdat Zap betx~eei stocking top and
dre-s hem w-hen shie sits down.


Thec- is one thing that I sinlcerelY wish myv best friend
wouldn't do. Sli is -alwi\s complaining and feeling sorry






WHAT DO I DO NOW?


for herself. Slie runs to i--ceryone for sympatlhy every time
any ouit-of-the-ordiiiar. tlihig h.ippens.


I have a swell pal, b-it sh,; has the hliait of hanging to
my al n when we are walking. 'ihich I doniit like. It irritates
me very much, and I wish slie "ouldn t do it!


This person dresses in ;ood taste. her voice: is n11 modu-
Iated, and her manners -ire above a:.vc.iage. but she ihas cne
habit that is positively eiibarraissing! Slht puiurctriats her
spe-:ch with loud giggles that al:waYs draw in.ni\elcoime at-
tcntion to herself and he:r roiipi.iiaioiis.


I would like to tell sornethir, ng m.sell once, iintead of
having my friend interrupt and t: II h:er \v.rrsion of thie store .
It seems that she can't \i .t urLtil I et through.


I have a very close friend-in fact. i roniiriatc-w lo is
a likable person exceFt for \to thing-s. hli continually
brags about himself, wlich i onr fai:lt I detest; ,and lie
wears my clothes. I don't mind hal ig him boiroe' a nneck-
tie now and then, but \xhen it ge-ts to tih point that c-v.cryv
time I go for the necktie that I p.lticilc.rlvy waiit .inI] hid
it gone, that is more than I ca.n tarind


My best girl friend diersse.s :-.s nicely oi s :i\oiic could
ask. She is attractive arid conducts Ii rself ier\ w'ell in
public. She is generally liiLed bI almost rtecryone a;t the
first meeting. One thing about her that bothers ime is slhe






HABITS THAT ANNOY


thinks she is better than other people. She is always right
and cannot stand to ha\,- ano-ne collect her.


On the ho le, thiI fri-end i, tiir niricet onle that I ha\e
four iid school, hut she, in i4st upon doi:iigL on'r, things that
aiino\s mei. She: "fish.l-s" for conmpliirncrts. H,:r daniicin is
gu oo but she is consltaint sam ing tliat she canr ot dancc.
c! she-, itnt cgood-lookinLg or h-r drL'N in'it prtts \ hele
she ik certain that all thc e thiting' arr not tru-.


I lhase a girl firirnld ho i, akl a\ illiri to do) her part
is a good sport. and al. a' pa her -hare of the --exp.ises.
But -c lhas one habit that I sincel ,l \wish she didn't hav.-.
She \.I. S an, whei e n id at ajn\ li n1 ti \Mt'iiLout cr e inI hlAr
imo Ith!


NI\ b-et friicnd has onei habit thl.t I \\ ish sh.- didn't hia\'.
Wi'en the- li nIeou or \_ii cr'.Cted, Ishe brit-s her hnrernaiil.
She doe-sir t e.-eni to !t-alize that thr i' doin'z it. Is there anv
habit nmoie childihi and annoy ing than this or:-'


Nl\ l-'t Frie-nd is re-all\ \\wondctful. Not iintil I mnet her
did I know lhat a tal fiie ind ci-dd b, Shli is irnderstanid-
irng and !o\al. and v.,: hIase- no,: p:tt qluiarr-els-but she
riltlCize, people. Sin I l:k practicall ecvnr\bod.\ it is
ainnri' ing to het., afteR I hae been talking to a tri.eid. "Sli
ha' a inny i i''le." :'r HIe : certainly thinks well r.f him-
self Thi next time I e-c the persoii wh\o %%as criticized I
.3r1 aliot_-d wilth i\ -If for r1 oticir, the giggki or whatee.:r
rclst ha> be.:n inrie-tioned.






WHAT DO I DO NOW'


whenevere r I him on the radio, my friend. %who is a pianist
and knows tie popular songs, always hums or sings. I
can't carry a tune, so I suffer in silence.


My friend is always willing to help others, and I have
nexer heard her complain \without reason; hov.ever. when
she is with the gang. she has to make 'ceatt remarks" about
everybody and everything. She seems to forest that being
considerate of the feelings of others. especially her close
chumi, is one of the strongest bonds of friendship.


The thiiig I wish im\ friend wouldn't do is rather an
un.isual one. I wish she would not worrn so much about her
grooming. She is small. trim. and neat-looking: and. as the
expression goes. 'alwaiYs lo:k' as if she had just stepped
out of a bardbo\." But oh! The trouble and worry that go
with it! She always has to look just so: her stockin'2s must
be of the proper shadt and texture: ecery hair mu.it be in
the right place; and her fingernails must be manicured sev-
eral tiunes a week. She is too particular about her groom-
ing, and I-I am not quite particular enougLh.


My friend is ieve\r quite at home conrersationially., un-
less th. topic is clothes. This is all \er\ '.ell tor n tiie, but
becomn.%s a4 tireomrne to me as my choice of topics probably
is to her. I %\ish she knew something about a few more
subjects.


My' Iritnd has manly admirable qualtin-'. Her personal
makes her such enljo.vable company l She is \ern well read







HABITS THAT ANNOY 21

on man\ different subjects :nid can converse on almost any
topic. but I wish shie would d not _tare so intentl\ into one's
Cees at 'uch close rarn' \w'hen shr become' so interested in
the discussion that sh- for-cts all else.


NlM friend has a lo\cl personality. a \inning smile, and
a neat. attractive appearance. She is really a fine friend and
pal, but I do .\ isl she wouldn't use such Inr'_i words and
such stilted expressions. Doesn't she know she makes her-
self conspicuous








.* *


BACKGROUND


WIIHAT ARE )XOME OF THE FERSON.\LIT1 DEFECTS OFTEN
imenltioned bv cmploNel s? Such conmmeinnts as these are
often heard:
"H has had excellent technical training but, in-
fortunatel, no background for this position"; or 'We
cano tt employ iher: she was highly rcconilnt nded to
us. but during the interview I found that hcr back-
ground is \ci\ limited. She has no oCutside interests.
She has ne er traveled and apparently has never read
much. not e Len the daily papers. She was uninformed
lon e\eiv topic that I mentioned. She knows only short-
hand. tvping, and accounting,; lihe knowledge is insuf-
ficient for tlis position."
What is this important factor in persornalityv powth
called "background ? Background is that fund of
knowledge and e\pelience that determines your under-
standinij :rind appreciation of the world about you. The
imo1e you know, the greater is your ability to form a:u-
thentic opinions and to recognize and take advantage
of the many opportunities that are open to each one
or us.






BACKGROUND


Books
Background, the total of your experiences to date. is
requiredd in many \\a~s. The home ftunisuhes the ini-
tiator expeii ences: next. the immediate neijghbuilood
contributes: then, the. school: and. finally' the w'.orld at
large. Of necessit\, man\ of o)ur i.' epelielncs must m e_
\ icarious-and books. probably more [tan an\ other
single ageinc\, help y\u to piocmue background.
Acquire a broad background, so tha.t \uu will be
of \alue in Vour c:lost:n ;ocatioln. You should read
social-science books in order to, interpiet current hap-
penings and, in a rneasuie, predict future c\cnts. Books
of travel. bio',iaphi\. art, music. science. religion, phi-
losoph\-all contribute to the v. el-rouncled person-
ahtv that ma\ be \ouirs if vou wisli to attain it. Too, the
more diversified \our interests, the more pleasure \oio
v ill derive from \our \1oik aid fioin \our leiosiire.
I don t have time to read." is the excuse of those
vlio air- self-satisfied or are poor mariauers of their
time. These persons should visit the public libraries in
the c\ening and observe the tired, hard-workin, rnin
and 10\omen. youngg and old. v. ho stop thi:re to spend
a short time in a pleasant atmosphere v\-Iere they' ma\'
read books. newspapers. and magazines. In addition
to books of fiction, librarians sa\ that these readers ask
for books of history economics. travel. bI.)oinraphi\, phi-
losoph.y, and religion. The demand for these books far






WHAT DO I DO NOW?


exceeds the supply. The calls for books of science, art.
and music are greater, too, than e \er before. Man\ of
these people have had little opportunity to acquire
background; but now that the opportunity is before
them, the\' are taking advantage of it. If you care to
extend your interests, trained librarians will help you
plan your reading. In this rioderu age, with its school,
city, to0\Tislip. countV, regional, state, and public li-
Ib.ai\ commission libraries. there is un limited oppor-
tunitv for \'ou \lio care to read.

Current News
The busY person can keep himself informed on current
topics bv reading the headlines and the first paragraphs
of newspaper stories or by listening, to the rnew.s reportss
on the radio. Mere listeninrc or reading is not enough.
however. You must not accept without question L-\er\-
thin'gr ou hear or read. Try to understand the cause and
effect: ask \ourself: "What is behind that?" "How does
that fit in N ith what I already kino?" "Is that problem
an important one. ol is it being agitated at this time just
to becloud some other ivsue?' Think and reason as \ou
read. Do not believe ever. thing that you see in print
just because it is in print. Try to "get behind the words."
so that \ou can de-t-rmine the actual purpose of the
article. If \ou know something about the authors of the
books or the control of the newspapers or magazines.
\ou are better able to interpret what you read.






BACKGROUND


Radio
The radio is an invaluable aid in acquiring background.
The \alue of news reports and comments on current
events has just been mentioned. In addition, education
in good music ma\ be gained by listening to the mu-
sical broadcasts. The coninentators' talks on the history
and development of music and their discussions of the
lives and personalities of the composers are most in-
forming. B\ means of the radio, it is also possible to
hear classic pla \s and keep informed on contt-mporary
plays and players.
The radio also offers a splendid wa\ to learn the
correct pronunciation of \woids. If unfamiliar words are
used. look up the meanings and broaden \our \ocabu-
lar\ b\ using, thtesi word s as ou learn them. It is im-
portant that you use preferred pronunciations. The
\oung' man \who insisted on pronouncing "finance.'
financee" e\en after his emiployer had infonned him
of the pieferred pronunciation, did not ealuate the
impression he was making on his employer. Deter-
mined not to change because he knew he wasn t \\ron,.
the younii main was finally discharged bv his irritated
employer.
There are radio klethres on almost ever subject. If
you are attempting to acquire background by means
of the radio. refer to the list of programs in a daily
newspaper and make a plan of what \ou \ant to hear






WHAT DO I DO NOW"


each week. Then. when you have time. \vou can listen
to a program that really is- worth while.
If you have no iadio, but ale fortunate enough to
li e in a citv where there is a "Listening- Room" in tie
public library you can go to this room to hear dra-
matic productions, reviews of old and nlew books, or
iouind-tnble discussions on current topics. Tihe anno-
tated lists of books given to you at tlhse programs will
assist you materially in planning your background
leading.

Motion Pictures
The motion picture is another educational medium.
Vital information concerning your own country\ and
the other countries of the world and their inhabitants
may be obtained from motion pictures. For those w ho
can travel. thJe newsleel and tra elogue often intensify
the desire to \isit the countries that are shown on the
screen. For those who cannot tra\vl vet. these pictures
are indispensable, for in the meniintimei they\ can be
"seeing" the world.
The achievements of science as shown in motion
pictures may create in you the deile to know more
about the subject through reading and stud Classics.
too, as well as other types of litc iar work., are shown
on the screen. After reading reviews and criticisms of
films, you can attend the ones that You think ill be
of the most value to you.






BACKGROUND


Leisure
The manner in which \oi spend sour time- outside of
school or business hours is imr poLtant to :ou and your
associates. In Lfct. some emnplo ers consider thins nmtter
of so much importance that tli e\ ha1\e included it on
their application blanks under the guise of Ihobbics. In
this way\' ou gi ie valuable, information about \ouiself.
since \our persrniiality is reflecc-cd by ur interests.
A hobb\ is a pleasurable undeit.aking-something
that \ou do iln \our leisure tine just because Iou tienljo
doing it. Your hobby mayI he some colipetiti\e outdoor
or indoor sport; or it nma be walking, swimming. skat-
inig. or anri of a number of othicr sports.
The \\ i\ in which \ou conduct \ourself in a com-
pctiti\v indoor or outdoor garie ic-veals your true per-
sonality. In \our untrluarded nimenits l o u shli,
\vhetier r not O[ 1 ha\t" a sense of humoi, \whetlier
you "can take it" when the joke is on )ou. Are \ou a
oold sp'lrt \whl: n \ou lose, or do \ou always Ihae to
win in order to enjoy the gam e? Do you co-opcrate
with our.lr patm \r when you aie plain., ',r d., \oAi tl\
to sho,\ off \our special skill b\ trying to win alone?
Competitive sports, in addition to the oftc-l much
needed exeicise. pio\ide splendid opportuniitieis to de-
velop such qualities as leadership. co-opeiation, and
self-discipline. If \ou ha e never pla \ed. l.eai n to play.
You need tlie mental and phs sical i:-laxation that comes






WHAT DO I DO NOW?


from it. In addition, .ou really get to know the persons
you meet during your leisure hours, and your compan-
ions have the opportunity to kniow you.
If you do not care for sports o0 games, there are
various kinds of creative hobbies that na\ interest you:
painting, dialing, writing, leather work, dress design,
uiteiioil decoration, and lgadening are a few of them.
Your hobby rmay be anything that gives you an outlet
for self-expression. How far Voui go with your hobby
depends upon 'yoIu.
People have always liked to collect things: and
w whether you collect stamps, coins. guns. or buttons,
vour hlobby can be made both interesting arid educa-
tional. You should obtain all pertinent information be-
fore you classify :ouJr collection; then attempt to set up
your display in a manner that will be both attractive
and original. Join a club to meet others % ho aie inter-
ested in the same hobby. Learn as much fiom the mem-
bers as ;oii can and be able to tell them something in
return. Read the hobb\ magazines to get new ideas, try
them out. and, if they are worth anything, pass them
along.
If you have a camera, don't just snap a picture "to
finish this ioll." Pn\ some attention to detail-trv to
get pictures that really tell something. Learn to develop
your own pictures-it is fascinating-then arrange them
in your album in a way that will be interesting to
others as well as to yourself.






BACKGROUND


whether r your leisure is enforced or planned, spend
the time in something that will refresh you physically
and mentally. The contacts-social, geographical, his-
torical, or otherwise-that you make by means of your
hobbies will broaden your background amazingly.

Ability to Experience
There are innumerable other ways of acquiring back-
ground in addition to those already mentioned. Attend
night school and evening lectures in order to become
more proficient in your chosen vocation. Visit indus-
trial plants and public institutions of all kinds. Visit the
art galleries. If you know nothing about art, get A
Chills History of Art, by V. M. Hillyer and E. G. Huey.
Read and study it until you have acquired a foundation;
\ou will be surprised to find how much more a visit to
tle art gallery will mean to you. Learn how an etching
is made. Perhaps you may even want to make one.
Each of you, if you will, can find much in your own
community to increase your knowledge. The more you
kaow., the more you will see and the more you can do.
Gro\w th in ability to experience depends on a developed
sensitivity.








* I,
-/


PERSONAL APPEARANCE


THE FrST IMPRESSION THAT A PErSON MA.KES ON OTHERS
Is dependent in a large measure on his appearance.
How- many times are head such statements as, "I'll
never forget how she looked the first time I saw her,"
or, "Do \ou remember the queer hat he wore tlhe first
time he came he-re." First impressions are lasting; so
it is important that the\ be the right kind.

Bath
The first essential for a pleasing personal appearance is
the b.itl. Generally, a clean skin is a health \ skin. Take
a thorough soapy tub or shower bath daily in the \\in-
ter as well as in the summer. A sponge bath is a poor
substitute for a tub or shower at an'. time. Use plenty
of soap and rub the body vigorously, for a shower or
tu.b bath without soap does not remove perspiration,
dead skin, or the oily skin secretions. Give particular
attention to the neck, ears, elbows, and armpits. Do
not use a soap that is too strong. Rinse the soap care-
fully from the body. Be sure to use a good deodorant
01 nionperspirant as often as is necessary.






PERSONAL APPEARANCE


Face
Never leave powder or rouge on the face overnight.
Wash the face with plenty of soap and warm water. If
the face smarts and burns, the soap may be of the
wrong kind; try some other pure soap. Rinse the face
well in cold water after using soap. If the water seems
to dry the face, apply a cream after you wash for the
niglit. This is especially important in windy, dry cli-
matI .s.
If the use of soap and water on the face does not
seem desirable, a cleansing cream may be used to re-
mnlve dirt and make-up. A thin cream that melts with-
out much rubbing when it is applied to the face and
neck should be chosen, for too much rubbing tends to
foice the dirt into the pores. Remove the cream with
cleansing tissue. Several applications of cream may be
needed if the tissues continue to show soil. If the skin
has a greasy feeling after the cream has been used,
select a brand that contains less oil. Cosmeticians at
drug stores, department stores, or beauty shops will
help you select the cream that is best for your skin.
Use the shade of powder that matches the skin tone
and rouge and lipstick that give a healthy pink. When
lipstick is too vivid or is spread on too thickly, a hard,
unnatural appearance is given to the mouth. Lipstick
should be applied with regard to the size and shape of
the mouth.






32 WHAT DO I DO NOW?
If \OU do not know the shade of face powder, rouge.
or lipstick that is the most becoming to y'ou. consult
a cosmetician. If this is impossible. write to the Educa-
tion Department of the company that manufactures
your favorite cosmetics and ask for a complexion analy'-
sis and a make-up chart. Send a description of \'our
complexion--ery light, fair. me-dium. ruddy. oli\ e. sal-
low. or freckled; the condition of \our skin-normal,
oil\. or dry: tlhe color of \our eves, hair. and lashes: and
your age. Describe \our skin problems and ask for
:id\ ice.

The Shave
Men should sha\e often enough to keep the face look-
ing clean. lany men sha\e every morning and again in
the evening. After shaving, rinse the face. neck, and
ears with warm water to remove an\ trace of lather;
then use an antiseptic lotion an a slightly tinted, after-
slhaving powder. The lotion cools and heals, and the
powder remo\ es the glow.

Eyebrows
The important tiling to remember about eyebrows is
that there should be two of them. There should be no
hair abo\e the nose connecting the two. Pluck the hairs
above the nose and any other unnril hairs that make
uneven lines o\er tlie eves; be careful to keep the
natural line of the eyebrow. Also, a oid the thin pencil-






PERSONAL APPEARANCE


line eyebrow. which gikes an artificial appearance to
the face. Use a small brush on the eyebrows night and
morning to rermoe surplus powder and to train them
to lie in the right direction.

Hair
The hair should be shampooed often enough to keep it
clean and free from oil. for oil absorb, dui. t.and dirt.
Under ordinary\ conditions, the hair should be shedhd
ever\ ten days. If the hair is unusually oil\. it should
be washed ever\ week or e\ en twice a week. If the
hair is rather dry. it should not be shampooed oftener
than once ever twlo weeks. Persons who wash their
hair often geneiallv do not have dandruff. Men should
Ise jiist eiinoughi hair oil to keep the hair in place if it
is unrdly. By all means, do not soak the hair in oil.
for that defeats the purpose of the shampoo. The hair
should be trimmed often enough to .gi \e an appearance
of neatness. Don't let the neck ;get shagg,.
W'om en should arrange their hair in a wa\ that is
becoming to them. Not etern' new style is becoming
to all types. An elaborate hairdress tends to make a
person look older. A simple hair style that does not
need continual attention during the business or school
day is piefei ble to the elaborate one that seems to
demand much attention. The elaborate haiiddress. if it
is becoming to You. is appropriate for evening affairs.
Before \ou decide on a new hairdress, study your






WHAT DO I DO NOW?


features c.:rcfull\ and keep in mind the follow~ ing gen-
eral principles. A center part increases the width of
the face and emphasizes the nose. There:foie, it is be-
coming to the \woman who has a long slender face if
her nose is one of lier best features
A part high on the side nma offsct the u ide appear-
ance of the face that is too bioad.
Laige cars tend to \iden the face and sliould be
covered or paitlv coverId to decrease the \idth of the
face. The face \\ill appear longer if the tips of the ears
show.
A "tailored" hairdress, unless it is too seveie, will
make a long, thin nose appear less conspicuous.
Loose, natural-looking waves tend to conceal ir-
regular features, tilt, narrow \wave s tend to reveal
them.
The too-ligh forehead should be co'eied or partly
covered to decrease the Icnetli of the face.
Remember that others sec the back as well as the
front of \our head. If 1our neck is lon- and thin, the
hair should be worn low to nmake the neck appear
shorter. but if \ou have a short, thick neck, avoid the
low. wide arrangement of the hair at the back of the
neck.
Experiment with different hair aiiangements until
.ou find one that suits \our t\pc: or, ask a haiir stvlist
to help \ou decide 'liich of the pleKail;ng styles \ou
should adopt.






PERSONAL APPEARANCE 35
The important thing is tlit the hair should look iwHll
kept at all times. Conlb the hair several times a da\ if
it is necessary as it often is in wind\ regions. Pin the
hair carefully so that it \ill not fall out of place. The
habit of pushing or pulling at the hair is annoy ing to
others. Be sure that the hair is clean and arranged at-
tractivel\: then leave it alone. Neither men nor wenen
should comb or airange their hair in public. The im-
pression on others is far from pleasing.

Teeth and Moulh
Person \who :are otherwise lB sometimes neglect
the teeth and moutl. Clearn the teeth with a fairly\ stiff
brush and \our favorite dentifrice at least ever\ nihlit
and morning. Alter briushing the teeth, rise the mouth
thoroughly. Use a iioiuithiash if \ou \\isl. There is
nothing more offensive than bad breath. which is often
caused bI unbruslhed teeth and an i.nrinsed mouth.
Avoid eating foods that leave an odor on the breath.
When you are concentrating or listening closely.,
don't let the mouth drop open. Keep it closed and
breathe through the nose quiet. If v\ou have difficult\
in breatlminl through the nose. \ou ima\ need to consult
a specialist.

Hands
Hands are \el\ much in evidence and tlhieforee should
always look well. Keep the hands clean. This means






WHAT DO I DO NOW?


that it is necessary to wash them manr times a day in
war.m. but not hot, water. Dry them well and apply a
lotion to keep them from becoming red and chapped.
The hands come in contact with disease germs many
times a day: consiequentl., the hands should be kept
%,a\v from the face, for often the face is infected in this
,va\. A good soap is an excellent disinfectant.

Nails
The nails should be kept clean and filed. To be kept
clean, the\ must be moderate\ short. Ordinaril\, they
should be filed to conform to the shape ot the fingers.
If the hands are short and stock\, holi\e' r, the nails
should be left lonCer and filed to an almond shape.
Long, pointed nails are not in good.taste.
If liquid nal polish is used, moons should be left at
the base of the nails, and unless a clear or light polish
is used, the tips should be left unvarnished. Polish that
extends to the tips of the nails tends to chip more
readily. A broad nail may be made to appear longer if
a narrow line is left uncoated at the sides.
For daytime wear. a natural or soft rose shade of
polish is suitable. Dark polishes make short nails look
shorter and make poorly shaped h:inds conspicuous.
If the h:Lnds permit, the \j id shades may be worn
with eveniiin dress: but neither the brilliant polish nor
the evening dress has a place in the schoolroom or the
business office. Men's nails should not be high\ pol-






PERSONAL APPEARANCE 37
ished, but should always be filed and scrupulously
clean. It seems superfluous to add that nails should
never be cleaned or filed in public by either men or
,women.

Clothes
To look clean is not enough. A person's clothes should
also make Lim appear at his best-they should give a
feeling of poise and self-confidence, a feeling of ease
and comfort, because die wearer knows he is attrac-
ti\ely and appropriately dressed. To be well dressed
does not mean that one be expeisiiely dressed. Clothes
should be selected with a regard for usefulness. Ex-
tremes in cut and color should be avoided; faddish
dress is for those who carn buI today and discard to-
morrow. After a fad has passed, the wearer is con-
spicuous.
When planning a wardrobe. men and women should
consider a basic color and buy all articles in hannonv
with that color-the wardrobe should be considered
as a \whole. Conser\ati'e clothes of perfect fit and
good material are best. When buying clothes, consider
the upkeep-select material that keeps its shape after
many wearing without constant pressing: buy clothes
that do not soil easily.
For women. tailored suits or simple dresses are the
best taste for street and office wear. Many business-
men nlow prefer their employees to wear bright, color-






WHAT DO I DO NOW?


ful clothing; still. everythingg must bt- in "gcood office
taste. Some em ployers, howI e er, thin!; that black and
nai\ blue aire the onl\ appropriate colors for women
in businesss. In such offices, a \\oman. lb\ a selection of
smart accessories, rnal still give her costume distinction
and indi\iduahlit. Bright blouses or sweaters will en-
liven a suit: an attractive scarf. a nev. coll.i and cuff
set, or a string of leads will brighten the tone of a
tailored dress
Suits or dresses of bold stripes and checks are hard
on the eves. and certain narrow stripes make onet feel
dizzy. Clothes of this t pe are correct for sportswear
for men or women but are not correct for the business
office or schoolri-iomi, \hert people are working to-
gether hour after 1iour and da\ after da\v.
For \\'omen. knitted dresses and sweater suits are
considered appropriate for office or school wear if
the\ aie cared for properl.. Knitted clothes require a
great deal of attention, however, as they lha'.e a tend-
enc\ to stretch or sag after a fc\\ ealriigs. Some busi-
nessmen object to this tpe, of dress because of the
carelessness of the wearers. Knitted garments should
be aired well after wearing: then put fl:t in broad.
shallow, drawers. The\ should never be put on hooks
or hangelis, as this stretches them out of shape. S\ eaters
should be sunned and aired occasionall, a' they ab-
sorb perspiration ecn though the> do not a.ippear to be
soiled.






PERSONAL APPEARANCE


Silk crtpes and lightweight woolen dresses are ;wann.
easy\ to clean, and suitable toi man\y occasions. Wash
dresses anrd suits of the various light\weight materials
are suitable for summer wear, but dresses should not
be backless or entirely sleeveless for the office.
\ell-cared-for clothes are essential for a neat per-
solal appearance; and a well-groomed man or woman
\ ill never wear dusty, wrinkled clothes or those having
mnissin buttons or soiled or frayed collars or cuffs. Be-
cause woolen dresses and suits catch dust and lint, they
should be brushed often.
Clothes for Large Women. A large woman should
choose the texture of dress materials more carefully
than a woman of average size. She should avoid heavy
weaves, rough surfaces, and horizontal lines. Short, full
skilts and broad, deep collars tend to reduce height
and make persons appear heavier. Black and dark
colors are best for the large woman, as bright and light
colors tend to make her look even larger. She should
not wear dresses or blouses of plaids, checks, or large
figures. The V neck has a slenderizing effect.

Jewelry
Costume jewelry is sometimes worn to accent a color,
but with tailored clothes simplicity and moderation
should be the rule. Wood, bone, or leather ornaments
lihan.Ionize with heavy dress materials better than deli-
cate jewelry. Pendent earrings should not be worn with







WHAT DO I DO NOW'


street costumes; button ones are suitable. Too little
jewelry is better than too much. If you do not wish to
attract attention to the hands. do not wear conspicuous
rings and bracelets. Strive al\wa.s not to appear over-
deco rated.

Purse and Handkerchief
The purse is ar important accessory to the costume
and should be simple in color and design. It should be
of durable material :,nd easily kept clean. Fanc.y small
purses of less durable material are correct for party
frocks. The handkerchief, for costumes of dark colors,
may repeat the accessory shade. Use a tailored hand-
kerchief for suits or street dresses; save the elaborate
ones of lace or silk for party clothes. Above all. the
handkerchief must always be uncrumpled and spot-
lessly clean.

Men's Clothes
A man's suit should be dark enough to minimize soiling
and heavy enough to stand \\ear without rrmuch wrin-
kling. Dark blue is becoming to all men and is con-
sidered the most economical of all colors. Cray. too,
can be worn \ell by all men except those of sallow
complexion. Very light gray is not considered suitable
for business wear. Large-framed men may wear rough.
hea\y materials: but small. Finely knit men should
choose closely \woen, smooth fabrics.






PERSONAL APPEARANCE


Shirts and Ties
Shirts. ties, and hose should blend with the suit and
should not stand out as detached articles of apparel.
Shirts and tiec should be selected \with regard to the
coloring' of the w-ealir. A pallid comrriplexion req:uiies
shi ts and ties that give color to the face. while a florid-
face-d ri an requires shirts and ties that subdue the face
coloring. All, howe er. should he conser ati\e in t\pe,.
for flashy apparel shows \ery poor taste.

Care of Suits
The durability' of clothes depends on the care that they
receive. It is better to present soil than to have a suit
sent often to the cleaners because the w\earer is careless.
Rubbing and the action of cklaning ancnts \wear the
fabric': however. spots should be reimoed as '.son ras
they ate noticed. Blush the suit cetrehfllv. lirang it up
neatly, and it will Ikcep its shape for a loni., time. Be
sure to empt? all the pockets and button the suit.

Shoes
Both men and women should select shoes that harmo-
nize with the rest of the wardrobe. Black shoes are the
most practical for all types of wear; brown shoes are
generally worn with brown clothes. Elaborate shoes
call attention to the feet and detract from the effective-
ness of the ensemble. Shoes must be comfortable as well
as good-lookinz: comfortable feet make graceful walk-







42 WHAT DO I DO NOW?
ing possible. W\'omen who wear heels that are too high
tend to step cautiously and appeal still; otten the result
is a strained look on the face
\ ell-filled Shoes. \Vell-fitted shoes -i\e a person a
neat. trimii appearance.
Shoes should be longh enough that the toes do not
touch the eid of the shoes when the we.irer is standing.
Shoes that are too short and ha\e too Iligh heels push
the feet forward. cramp the bones of the large toes, and
cause in station and often enlargement of the joints. It
is rne\r wise to buv inexpensive shoes, for they are
more costly in the loni run. 1\'ell-fitted shoes of god
material keep their shape longer. %Cear better, take a
neater polish, and aie easier on the feet. Shoes that fit
well pre ent too rapid \sear of both sCoes and hose. It
does not pay to economize on shoes.
Carc of Shoes. Dark shoes should be kept well pol-
ished and light shoes clean. Run-o\er heels present a
slo'\en lv appearance and tend to cause poor posture.
Keep the ]eels straight and the shoesttrings \\hole and
well tied. Place shoe trees in the slioess as soon as the\
are removed to keep them in good condition-. Many
persons are careless in, this respect. The shoe trees
should not be too long. or they will stretch the shoes
oult of shape. Airing shoes soesoons i as the\ aie removed
prevents thernm om absorbing perspiration odors from
the feet. Improperly selected and poorly kept shoes
indicate carelessnress and lack of taste.






PERSONAL APPEARANCE


Hose
For officer \x ear. \\ omen should choose hose of a neutral
da \time shade that harmonizes with the costume. The
hea\ ier-\\eight hose is more practical for business wear
tliai the sheer hose generally selected for party wear.
Mlen should wear dark hose-not white-with dark
suits.
Be sure the size of your hose is correct. Hose that
are too short cause the toes to be cramped; too long
hose wrinkle in the shoes and sometimes cause blisters
or sore places on the feet. Hose should always be clean
and mended; a fresh pair should be worn every day.
It is not conventional for women to wear hose rolled
below the knee if, when they are seated, their dresses
aie so short that the knees show.

Hats
Hats for men and women should be selected with care.
The height of the wearer-tall or short-and the shape
of the face-oval, round, or long and thin-must be
considered. Both men and women should buy hats in
harmony with the rest of their attire and in accord
with the season's styles.
Care of Hats. The shape of the hat gives it its style;
so be careful to preserve this shape. For this reason,
men should remove soft felt hats by lifting them from
the top. Do not allow a soft hat to rest on the brim
aftel it has been taken off. Stuff the hat with tissue







WHAT DO I DO NOW?


paper and put it in a bo.\ or on a lintstand with a dust
prote.:tor oc- it. Daik Ihts should be bIushed \with a
soft brush to keep them free flion dust. \White hats
should be cle.nied fie(lu'jentlv. Never wear a hat \uith
a soiled barinl.

Women's Evening Dress
For t\Ceninl. \-iamen mi'ia choose an\ color that is be-
cinriing to: tlhe:m. oA forceful, \\acious person can \\car
more iiitenie i:ol, s than one \\ ho is quiet and ih\. The
person %with lii it:1i color, liowex er, should select shade,
tliat tend to subdue the face coloring; anld the person
without color must select shades tllat \will bring out
color in the face. It must Ibe remembered that artificial
light chli.iiane tlie color of dre s matterijis \'i\ id (.olors
n-mi\ become softened \when \\orni at night, while sucli
colors s ls ligt blue and lio..ht -Ileen ai.n\ not be be-t:om-
ing under artificial light. Large waornltn sl would \wear
dull. clinining rnatriials: tlht- should not \ear orl.zndie
or taffeta-c-ilisp materials that tend to make them ap-
pear larger. Taffeta is a good material for a retiring
personality. Part\ slippers ma\ be elaborate, but the
designs and mi material' n nst lhanronize with thie rest of
the ensemble

Men's Evening Dress
For semiiformal affairs aftei six o'clock. meni usuIlly
wear the tui\et o. or, as it is commonly called, the dinner






PERSONAL APPEARANCE 45
jacket. With it are worn the \white or black waistcoat
and black tie. The dliuner jacket, whc other a one-button
or a double-brensted model. is always worn buttoned.
In sonce circles the one-button dinner jacket is pre-
ferred, but the double-breasted mnodels are fast le-
comin' popular. The trousers are of the same material
as the jacket. Patent-leather pumps or oxfords are worn
with the tu\edo.
The full-dress suit for strictli formal \:car after sis
o'clock consists of the tailcoat, trousers of matching i a-
tciial. the \white waistcoat, and \wileit tie. The tailcoa-t
is alkwa\s worn unbuttoned. Patent-leather pumps or
oxfcods arc worn with the full-dress suit. The handker-
chitf must be of while licnn.
Lacking evening dress, a voung man should wear a
dark business suit buttoned according to current 4t le,
white shirt, dark tie, and black hose and shoes, so that
his dress will approximate e\veing dress as nearly as
possible.

How to Stand
No matter how carefully clothes are selected with re-
gard to style and material, they will never look well on
the man or woman who does not know how to stand,
sit, and walk correctly. Stand firmly on both feet with
the knees close together. Don't stand on one foot or
shift from one to the other. Keep the head up, the chest
up-not out-and the abdomen in. Don't pull the shoul-







WHAT DO I DO NOW?


dcrs up :"nd in. \hen the chest is up, the shoulders will
fall into a rntural position. The arms should be relaxed
at the side. Keep the hands out of the pockets, and
don't finger buttons, belt, or tic.

How to Sit
To sit down, walk directly to the chair, him on the balls
of the feet. and lowei \ouiself into the cliair \\hen you
turn. one foot is direetl\ back of the other. and this foot
takes the weiZght as you Ilo\\er \ourself Push back in the
seat until you touch the back of the chair. Hold the
chest up and the abdomen in. as you do \lhen walking
or standing. \\hen sitting. keep the knees close to-
gether. Don't put the feet out so far that they may be
in the way of other; who are passing. If knees are
crossed, be sure that the sole of the shoe is almost paral-
lel w ith lte floor. This apple; to both men and \komen.
lWhen \ou are sitting, don't turn your toes in or twist
them around the legs of the chair Don't tap on tlie
floor with '.our feet. \\omen. if their knees are crossed,
should not let the slipper slide oil the hecl and hang.

How to Rise
When you lise. slide one foot bIack and push the \\wight
forward with this foot. By bending at the slnme time.
it is possible to Iise easily and gracefully. Don't push
\ OUself fiomn the chair by holding to the sides and
hoisting yourself up.






PERSONAL APPEARANCE 47

How to Walk
\\'lle walking, hold the head and cllest up and the
abdomen in as \ou do wlihe standing oi sitting. Keep
the feet parallel and close together when they pass each
olher: lift the weight off the ground, rising on the ball
of the foot, thus smoothly carrying the weight from
one foot to the other. Don't hitch along and don't drag
sour feet. If your standing, sitting, or walking habits
.ric poor, follow these suggestions faithfully, and you
\ill be pleased to learn how much better you look in
Soui clothes and how much more comfortable and self-
assured you feel.









5 *




FARING FORTH
To .A TL.\


TEAS ARE GIBEN FOR \'.ARIOLS Pr'RPOSES. 1TIE IIOrTESS MAY
wihi to honor a house guest, a friend \who has just
moved to town, or a prominent person \r ho is ui tno\\
for soume ,peCtial occasion. SororitieLs .i\e tens so t[lnt
the niemrbers may Ibcome acquainted with prospectti\ e
pledges
The Iost~ess-or. in a large or a formal tea, the butler
or maid-admits thle t- usts as tlit\' arrive aid tells
them where to place tlieir coats, if it is tihe season of
the \'car \lIten coats :re worn. \\omen remove their
coats but should keep on their hats :n id c-arry their
gloves.
Street clothes are correct t at a te, but a costume may
be more elaborate than one ordinarily worn on the
street. Clothing must bl. suitable to the season. Fall
clothes must be worn to fall teas-rno- matter how wa\rnn
the dl'. summell r clothes ie n rot worn Meni wear busi-
ness suits. well pressed, with all furriiishin gs carefully
sele; cted.
You Inny be seate.d, or VOu may mo1\ e from one group






FARING FORTH


to another mecting friends. Men, of course. do not seat
therimseles if womeir are standing. Sometimes this
mians that \ou will stand all durilig \,our sta\ at the
tea. A tea is supposed to be a friendly gathering; so
talk with the guests nearest you. If you are a stranger,
the hostess or the assistant hostesses will see that you
meet other guests.
You should go to the table where tea is being poured
whlen you are ready to be served, unless friends of the
hostess are serving the guests. Be sure to indicate a
preference if you are asked concerning cream, lemon,
a 11d sugar; and help yourself to sandwiches, cakes, nuts,
and mints in small quantities.

How Long to Stay
You should stay at least twenty minutes at a tea; and if
the tea is being held between three and five, you should
not arrive later than four-forty. After you are served,
)ou may leave at any time. It is not necessary to say
good-by to the hostess if she is receiving guests when
you are leaving. If one of the friends of the hostess is
near the door, you may tell her that you enjoyed meet-
ing the guest of honor, that it has been a pleasure to be
there, or whatever you wish to say on leaving.

To A LUNCHEON
A luncheon is generally set for one or one-thirty o'clock.
Women remove their outer wraps but do not remove







WHAT DO I DO NOW?


their hats or gloves. The remo e their gloves at the
table cr just before going to the table. \'omen do not
wear elaborate clothes at lunclheons. According to the
type of luncheon, the\ wear street clothes or aftemoon
dresses. On a weekday men wear business suits, but on
Sunday\ the\ \wear whatever they wear to church. A
guest should stay at least thirt\ to fort\-fi\e minutes
after lunclhon unless there is to be bridge or other
entertaminm ent. Of course thiS rule does not apply to
business luncheons, which usually extend only through
the luncheon period.
Many luncheons to which only "\omen are invited
are inlfomal. If the hostess is entertaining in her own
home and the afternoon is to be spent infommally, guests
usually remove their hats.

To nr R ESTA.VLRNT
A woman wVeals a hat in, a restaurant during the day,
and in the evening if she is in street clothes. Hats are
not worn witlh evening gowns. If the woman is in eve-
nijin dress. the man should dress accordingly.

Sealing
If there is a hcadwait-r in the restaurant, he leads the
way to the table. The woman follows the headwaiter,
and she is followed by her escort. If there is no head-
waiter, the escort leads the \a\y to the table. The head-
\aiter or the escort helps the woman to be seated in






FARING FORTH


the choice seat. If her coat or wrap Iais not been left
iii tie dressing room, the woman partly removes it and
places it over the back of her chair, assisted by either
her escort or the headwaiter. The man checks his hat
and topcoat at the entrance or hangs them near. the
table.
When a man is with two women, the headwaiter
leads the way to the table, followed by the two women,
then the man. The headwaiter assists one woman to be
seated and helps with her wraps, and the man assists
the other. If there is no headwaiter, the inan leads the
way to the table and first assists the older woman, then
tlhe other.
If two couples enter the restaurant together, the two
"\omen follow the headwaiter, and they are followed
b\ their escorts. If there is no headwaiter, one man
leads the way to the table, followed by the two women
and the other man. Each woman is assisted to her seat
by her escort.
A woman who is entertaining several women follows
the headwaiter so that she, as hostess, may indicate
where her guests are to sit. The seating arrangement
should be planned in advance.
At a small, narrow table the man usually sits oppo-
site the woman; but at a wide or round table, she sits
at his right. I the man is with two women, he sits be-
t.' -r:e them. If there are two couples, the women sit
faciir, each other. In a booth, women sit next the wall.







WHAT DO I DO NOW?


If a man is with two women. one a relative. he sits by
the one who is not a relative. A m-.n sits opposite Ins
wife.

A la Carte or Table d'Hote
After the diners are seated. the \waiter or the escort
hands the %woman the menu card. The menu nma be
it la ctrlc., which means each dish is priced separately;
or table d'hlt7c. a set price for the meal. The man maN
ninke suggestions, but the \woman makes her o\\n se-
lections. 1B making sui'gjestions the man givcs some
idea of the price range of the meal tlat the wonmaI is
expected to order. The man gi\es both orders to the
,xaiter-the woman's first; then his own-or he writes
both orders.
When women aie dining to.getler. each. Lf paying
for Iher ou wn meal. gives or writes her own order: but
if one is the gucst of the other. the e one actin as hostess
gives or writes the order for both. When men are din-
ing" together, each gil es or writes his own order.
A %\oman should never put her purse and gloves on
the table. Thcv m:ay be kept on the lap or. preferably.
on a chair. as they invariably slide from thl, lap. caus-
1ing awk\Waid situations.

Cover Charge
Some restaurants require guests to pay a cover charge.
This cli.-mge is in addition to the price asked for the






FARING FORTH
A C-:L'PL E .r N.i.p.'"' TABLE A COUPLE %T 1 ROUND TABLE




0 WD









E rl
T' :C'O:~. T Cl- CL'PL[ INA BOOTH






CORRECT SEATING ARRANGEMENTS







WHAT DO I DO NOW?


meal and pays for service, the privilege of dancing, or
otlhr entertainment.

A Man Rises
\\hen a woman stops at his table, a man must rise and
remain standing regardless of how lorn the woman
stays. He rises, too, if a man stops at his table. A woman
does not rise. however, unless an eldell v woman stops
at her table. A man half lises and bows if a romnan
speaks or bows to him as she passes his table.

Tips and Leaving the Table
At the conclusion of the meal. a tip is left for the waiter.
This tip is usually 10 per cent of the meal check, how-
e\er, the amount may var\ according to the type of
restaurant and the affluence of the one tipping. In a
college town, it is not customary for students to tip un-
less tile are giving a special dinner party.
Some restaurants add a 10 per cent service charge to
the bill, in which case no tip is left.
If the man's hat and topcoat haLe been checked at
the entrance, the minimum tip for this service is 10
cents. If the woman leaves h:r \ rap in the dressing
room, she. too. lea',es a tip after the maid has helped her
with her wrap.
' In coming out of the restaurant, the \\oman precedes
the man.






FARING FORTH


To THE THE T.TIrn
Tickets to theater parties are usually sent to guests in
advaincc. so that thev mra\ g(o to theii seats as _soor, as
the\ arrive. If tickets have not beer sent in advance,
the gucst;s generally meet the host or hostess in the
foNer at a stated time. It is thi. height of rudeness to be
late. If no time for meeting has been mentioned, the
guests should arrive at least five minutes before the
opening o thit peifolmInlace. The seatbin arrangement
must bh planned in advance by thu. host or hostess and
the guests intoilm'd of it. so that the ma\ follow.' the
usher do\wl- the aisle in the order in which the\ are to
sit. If there are several couples, theu oman of the first
couple follows the usher dow n the aisle. If there is no
usher, the man of the first couple leads the way to th,.
seats; then steps back for the woman to precede him
into the row where the seats are. If the party has started
down the aisle with the man of the first couple leading
and is met by the usher coming back to them, the man
hands the checks to the usher and steps back to let the
womoani piecedei him the rest of the way. The man of
each couple sits nearer the aisle.
\ When two women and a man are together, the usher
leads the wa\ to the seat. followed by the two women,
then the mnan. If there is no usher, the man precedes
the women down the aisle: then steps back for them







WHAT DO I DO NOW?


to enter the low first. If one seat is the aisle seat, the
rnan sits theie: otherwise, the\ mn a\ sit .s tle wish.

Passing Those Seated
If \ou must pass people \ hen \ou are taking \o.ur seat.
press against the back of the ro,\ ahead. so sou %% ill not
gicatlh disturb those \ou are passing, but he careful
that \ou do not brush against those in the seats ahead.
You should face the stage %\lien \ou lar passing in
front of strangers. It is general. possible to pass peo-
ple who are seated if the\ will turn their knees side-
'ways. but sometimes the\ ha\e to rise to let you pass.
Be sure to get in or out as quickly as lpssible, for Nou
are cutting oil the view of those behind \ou. Sa\. Thank
voiu.. or. I an sorrv. to those whlo have let N\u pass-
and if \ou have brushed against anyone. sa, "I beg
\our paIlidn."
lThe mlni remo\ es his topcoat in tlie fo \I:r and carries
it over his 'a m to his seat. The woman wears her coat
into the theater and partly. removes it when seated. A
woman ale.avs wears a hat if she is in stiect clothes.
and removes it when she is seated if it obstructs the
view of those behind Iher.

Leaving the Theater
When lea- ing le theater at the end of a performance,
each person rnmoes to the aisle in the order in which
lie has been sitting, but as soon as the aisle is reached.






FARING FORTH


each man steps back to let the \oman precede him, or
.valk with him if the aisle- is sufficiently wide.

To mE DANCE
Dancing is a very popular pastime. If oi.i plan to
dance. you should learn to dance correct\ before \ou
invite anyone to go to a dance with \ou. It is unfair
to a partner to extend or accept invitations to a dance
if you are just learning and are making the occasion a
chance to practice. There is no surer way to make
\ourself everlastingly unpopular. Take sorne lessons
and practice with \our friends in private until your
dancing is a pleasure rather than a trial to others.
Be sure you know tlh t ype of dance \ou are to at-
tend-formal, informal, or spoils-then dress accord-
ingly. As soon as you arrive at the dance, speak to the
hostess or the chape(rons. If there is a receiving line, the
woman precedes her escort in going to it. Give your
name to the first person in the line: then turn slightly
and introduce your escort. Each person in the receiving
line will introduce you to the next one in the line.
The man dances the first and last dances and the
ones before and after the intermission with his partner.
At a formal dance, the man attends to filling his part-
ner's program. He dances with her all the dances that
are not taken b sonmcone else.
If a man has been brought to meet a woman who has
no partner, after the introduction he asks her to dance







58 WHAT DO I DO NOW'
by saying, "Ma' I have this dance?" or, would d you
(are to dance.?" (Ne er, "Do \ou haxe this dance?")
The woman will answer. "Yes, you man\," "Yes, I'd
like to." or, "I'd like to \er\ much.
After the dance, the man takes her back to her seat
and says, "Thank \ou," or, "Thank you, I enjoyed the
daijce.
The woman answers, "Tlhank Y'ou, too," or. "I enjoyed
it, too
If the man has the next dance with someone else, he
should ,av. "Excuse me. I haxe the next dance." If the
man, however. asks for the next dance, she may accept
or may sav, 'I'm sorry. but this dance is taken."
If a woman feels tired and does not care to dance
when she is asked, she may say so. She general\ says.
"ThI ank \:1u., but I'm going to rest during this dance."
If it is her escort who has asked her, Ihe should ask himi
whether he cares to dance \with any one else, if he does
not, she should sit out the dance x\ith him.
A woman must not refuse to dance with on e rman and
immediately dance with another, and she must not re-
fuse to dance w itl someone xh- t has "cut in." Tlh man
must no "t cut back" on thl e oe who takes his partner
from him. It is \erv rude for a man \iho has not brought
a partner to select two or three of the best dancers in
the room and continue to "cut in" on them, or re-
peatedly "cut il" on the same man.
In forminii for a maich or escorting a partner to or






FARING FORTH


frm tihe dance flooi. the man walks at tiht left side of
hi- par tner. le Imiy uOffel his ann if the floor is so
crMwded tlha1t ,he needs his assistance.
If punch is being served, the man serves his partner;
she does not serve him.

Chaperons
Be courteous to the chaperons. If a woman without an
escort is the chaperon, she should be called for and
taken home. If she dances, see that she is asked to
dance. If she does not care to dance, arrange to have
various couples sit with her during the evening so that
she may have as pleasant a time as possible. After all,
she is there just to accommodate you. If there are sev-
eral chaperons, have a bridge table set up for them
so that they may play bridge if they do not care to
dance. If they do not care to dance or play bridge, plan
some other entertainment for them.
Before you leave the dance, bid the hostess or chap-
eron good night and say that you have enjoyed the eve-
ning. Thank the chaperon for being with you, and,
above all, be sure that you do not let her go home
alone.

To CHURCH
To church, women should wear street dress, which of
course includes hat and gloves. Men remove their hats
and topco.its in the vestibule. The woman follows the






WHAT DO I DO NOW?


usher and precedes her escort down the aisle. If there
is no uslher, the man precedes the woman to the pew
selected; then steps aside to let her enter the pew first.
He sits nearer the aisle. Alter the service, the man steps
back at the aisle and lets the woman precede him from
the church. All conduct in the church should lend dig-
nit\ to the service.

Os rTl- SmEcrT
When walking witi a woman or with two women, the
man walks on the side nearer tie street. If a woman is
walking with two men, she walks between them. A man
should not hold a woman's arm unless she is old and
needs his help. In traffic, a man may offer his arm until
lie has guided the woman through lth- crowded street.
A cultured person does not use toothpicks, chew
gum. or eat while on the street an moire than he would
in a business office.













AT DINNER


THE FORMAL DINNER NEV\EF BEGINS BEFORE SEVEN
o'clock: the time usually is eight o ceiglt-thirtv. It is
Ceni discourteous for a guest to lie late. Arrive at least
five minutes before the hour set for the dinner. II for
some unavoidable reason \ou cannot arrive on time.
telephone the hostess and explain the icason to her. If
it has been irmpossi-ble for you to notify her and she las
started the meal after having \waited tle required fifteen
minutes after the hour set, go to her, offer apologies,
and take your place at the table as quickly as possible.
The tardy guest begins with the course that is then
being served.

Seating at a Formal Dinner
At a formal dinner, the host enters the dining room
first with the woman guest of honor on his right arm.
SThe other guests follow in couples; the hostess enters
last with the most important man. The host sits at one
end of the table and the hostess at the other, unless by
so doing women would sit together, as is true when
there are eight, twelve, or sixteen in the dinner party.
61







WHAT DO I DO NOW?


Then, tlhe Ilosttc ss moies one place to thie left. and the
most Iniportant manr sits at the end of tile tabl in her
place. The woman -i guest of honon is sea.tcd t the light
ot the host. The most imipoitant rman or tlih main guest
of honor is seated at the light of the liostc s.

Sealing at an Informal Dinner
At Jn inforinal dinner, the hostess leads the women
gueLsts into the dciing room llollo',ved by the lost and
thie ilen i guests. Thle Iiostets then tells her guests \licie
to sit She must aiva\s liha\e the scating plannricd in
ad\aiice in order to aloid conifiision and dclav. Tlhe
host and hostess sit at opposite ends iof the table. \X'hile
customnlril' the oldest \\woian sits at tlle right of the
host d tli oldet ml n tli" light of thlc hostess,
guests 1i1a be placed \\hllereve thie\ \ ill be Ilappiest.
Each pei son stands casually' behind] hils chair until
the hostess starts to take her seat. TheI man helps his
dinner partner to be seated and also helps moi-e her
chair as she rises. Each person m,\cs to the left of the
chaii to be seated aind also rises fror tlie left.
Do not lean b:ack in the chair, vet do not sit too close
to the table. Keep) our feet on the floor. 'Your feet mr,\
be crossed if \ou wi.h, but not \your knees.

The Speaker's Table
At a public dinner. thli speaker's table is placed in a
conspicuous p[.rrt of thli- room. The toastmaster sits in






AT DINNER


the middle scat on the sidle facinig the room. )On the
toastmaster's right sits the honored guest, the principal
speaker of the evening. On the toastmaster's left sits
the second most important guest. All those at the
speaker's table, of course, sit on the side of the table
facing the room. Guests other than the speakers may be
honored by being placed at the speaker's table.

Service
Whether to serve the hostess or the woman guest of
honor first is still a debated question. Regardless of
which woman is served first, the waiter moves to the
right, serving each guest in turn, around the table. The
man guest of honor, no matter how distinguished, is
never served first.
When the waiter holds a dish so that you may serve
yourself, he presents it at your left. Treat the waiter
impersonally while you are being served. "Thank you,"
"No, thank you," or, "If you please," in low tones is
sufficient.

A Cover
A cover consists of the silver, glass, china, and linen
necessary to serve one person. From 20 to 24 inches are
allowed for each cover.
The service plate, a plate larger than a dinner plate,
is placed in the center of the cover about an inch from
the edge of the table. The dishes for all courses up to






64 WHAT DO I DO NOW'
and including the soup course are placed on the senrice
plate, w which is removed when tlhe meat course is served.
Folks ae placed at the left of the plate in the order
in %which tlhey Le to be used; the salad fork is inext the
plate, and tlhe dinner fork is at the left of tie salad fork.
Kni\es are placed at the right side of the plate, the
cutting edge of the knives turned toward the plate.
Spoons are placed to the light of the knives. The ouster
fork, if one is needed, is placed at the right of the spoons.
It is used for raw o\stcrs. clams, and sea-food cocktails
and is the- only fork placed at the right of the plate.
The silver that is on the table is to be used through
the salad course and is arian-ed in the order of use.
Begin each course with the silver farthest from the
plate. The silver for the dessert is brought in with the
dessert.
The bread-and-butter plate. which may be a part of
the breakfast, luncheon, or supper service, is placed
abo\e the forks. The butter knife may be placed across
this plate. The water glass is placed at the tip of the
dinner knife.

Napkin
The napkin is placed at the left of the forks or on the
service plate. Do not be the first to reach for 'our
napkin. Wait until the hostess reaches for hers; then
take the napkin. unfold it in half, and place it upon
your lap with th e fold toward you.






AT DINNER


The napkin may be used occasionally to wipe the
lips before or after taking a drink. Women should a~oid
soiling the napkins with lipstick, \which is often dilhcult
to remo% e.
If 'you are a guest for one meal only, the napkin
should be left unfolded at the lett of the plate. To a\ oid
getting crumbs in the lap. fold the napkin from right
to left. then lift to the table. If \ou are to eat the next
meal at the same table, the napkin may b e folded as
it \%as originally and placed at the left of the plate.
However. obserne \our hostess: man\ hostesses use
fresh napkins for each meal.

Dinner Fork
The fork is held incorrectly more often than an\ other
piece of silver.
When using the knife and fork together, as in cutting
meat, the fork is held in the left hand so that the end
of the handle touches the center of the pahn of the
hand, and the handle is grasped with the thumb and
the first and second fingers, the first finger pointing
toward the prongs. To get the correct idea, grasp the
fork handle (prongs down) as if it were a hammer;
then slide the first finger down the back of the handle;
do rot let the finger extend along the prongs. Never
hold the fork at right angles with the plate. Don't use
the broomstick grip.
After the portion of meat has been cut, the knife is






WHAT DO I DO NOW?


laidi dos ii nciid the fork is transifcn-ed to the rilit hand.
The rii, at is then carried to the mouth \ ith the fork.
prongs up. This is the Anmericarn method. Accoidinig to
tlh: EngIill or continental itmethod,. after the portion of
riniAt is cut, the knife is still held in the right hand and
tlie itieat is carried to the iimouthiit with the folk in the left
hand,. prongs dowli. This; methlid is not used to anY'
great e.xtent in this courtrv.
Tlih fork is held ,witl tlhe thuiib and the first aind
second fingel. Vezetabl:i-s shouldd be ente-ri '.ith tlhe
fork. Do rot pierce regetablees or bread witl the fork-
slip tle folk indr:-r the vegetabhcs. Bread should be
taken frorn the plate \ 'ithi the fingers. Put onlr one kind
of food on the fork at a tinic. Us e he fork to put butter
on vegetable% arnd je-ll. on meat.
EInt juyicN uncooked fruits, soft or sticky cake. pie, and
brick ice cleall with a fork. \\heil eating pie, holdI the
fork the manie as \ou do for vegetablee \\ateninelon is
eaten \\ ith a fork, cantaloupe \\ith a spoon.

Dinner Knife
Use the knife for cutting rii r meat arnd other foods that
cannot be cut % ithi a fork. The knife is held in thle right
hand in ,-xactl\ the sit-e mianlier as the folk. Grasp tile
knife Il.-idle iwith the thumb ,-ind tihe first anld second
fingers; slide tlie first finge-i o ut on the iiandle, but do
not let it ex.tenrd aloirlg tie blade.
Cut cliiciken from thl bone with thle knife and fork






AT DINNER


just as \ou \nulild any other kind of meat. Never take
chickel n in tlCe l inil s unless o are at a picniic '..'ere
siler is not provided. After cutting meat, do not ltclean
the knife b; rubbing it against the fork or a piece of
bread; Ilhov.v\er. keep the knife as clean as possibl,-.
The dinner knife ma\ be used to spiead butter on
bread if a butter knife has not been provided. Bieak
off a small piece of bread and hold it on the edge of
the brcaid-and-buttei plate or the dinner plate to spread
it. W\\hen tlis is ea.ten. bitak off anotlier small piece and
spread it. A holeol, siiiall bi!cuit ria\ be buttered at one
time \ith-out rerro\ ing it from tle plate as it is coni-
sideied more deliciousiI if it is buttered whilee lint. Jell\
--e\cept jell\ eerten \~itli iimeat-laili. and butter sli-iould
be put on the bread-and-biuitter plate anrd is sprad .'.itli
a knife.
Corn on the cob is buttered with the knifc. Spread a
small area-not too wide-and eat this, holding the
ear with both hands if you wish. Then butter more, and
continue to eat as quietly and daintily as possible.
When the knife is not in use, place it with the cutting
edge in. on the uppei light are of the plate; keep both
the blade and handle on the plate. Always place the sil-
Nier quietly on the china, don't drop it. Never let the
knife and folk hang finnl the plate like a pair of oars.
h\\len paying tihe plate fto a second helping or at
the end of a course. place the knife and fork in the
center of the plate \ itlh the handles at the lower right







WHAT DO I DO NOW?


edge; then there will be little danger that the silver \ill
fall h ien the plate is lifted from the table.

Spoon
When eating soup. put only the side of the spoon to the
mouth. Put the spoon in the soup, tip it away from \ou
until it fills sufficiently, and theu lift it to the mouth. Do
not fill the spoon moie than three-fourtlis full. Dip away
from sou with soup, but toward you with cverithing
else.
If soup is served in a bouillon cup, you may leave
the spoon on the saucer and drink from the cup. Veg-
etable soup, rice soup, clam chowder, or other thick
soups are usually' senred in soup plates. Leave the spoon
in the soup plate, not on the service plate.
Stir a beverage gently, not %igorously round and
round. Ne\er leave a spoon standing ui a cup or glass.
Ice cream served in a sherbet glass or an ice served
with the meal is eaten with a spoon. Do not leave the
spoon standing in the sherbet glass; when the spoon is
not in use. put it on the plate under the glass.
In eating cherries or other cooked fruit containing
pits or seeds, it is easier to extract the pits or seeds with
the spoon before the fruit is put in the mouth. However,
seeds, pits. or bones may be removed from the mouth
with the finger and thumb. Do not put potato peelings
oi fish bones on the bread-and-butter plate, on the table
cloth. or in a saucer: leave them on the dinner plate.






AT DINNER


Spoon and Fork
\'hen searing )ourself \vithl a serving spoon and folk,
hold the spoon in the right hand and the fork in the
left, using the spoon to lift the food from the dish or
platter and the fork to hold the food in place while serv-
ing it.

Glass
Do not look around the room while you are drinking;
look into the glass. Use the napkin for the fingers or
mouth whenever necessary, so that you will not soil the
glass. Do not drink while you have food in your mouth.

Finger Foods
Use the fingers for bread, rolls, cookies, potato chips,
small pickles, olives, radishes, celery, nuts, or candy.
Bread, rolls, olives, radishes, and celery are put on the
bread-and-butter plate.
All sandwiches, unless they are of unusual thickness,
are held with the fingers. Thick sandwiches may be cut
into small pieces and the pieces picked up with the
fingers. Cake too may be eaten with the fingers unless
the icing is sticky.

Finger Bowl
Dip the tips of your fingers, one hand at a time, into
the water in the finger bowl; then wipe them on the
rnapkin, wrinkling it as little as possible.







WHAT DO I DO NOW?


Miscellaneous Hints
At a small dinner p.rt v. do not start to eat until all
guests aire served. At a large dinnerr party. you mal
start to eat a~s soon as those nealr vo hae been served.
Do not eat too fa!t!
Do not talk while \ou have food in \'our mouth, and
keep) the mouth closed while \ou t chli- your food
Elblows should not be put on the table \. lhen you are
eating.: holice\r, between courses at a restaurant, if
\ou cannot hear \our criipanion. it is permissible to
le.n forward on \our ello\~ ..
If silver is dropped oni the floor. lea ve it tlieie(. If an
accident happens at lte table. apologize briefly to \our
hostess.
If vo\l must use our handkerchief at the table turn
your head slightly and use tlih handkerchief as in-
c'l1.ipicousl\ as possible. If Vou cough 01 sIneIez, use
voU11 r,:ip in to co'cer your mouth.
The hostess continues to eat as loni' as her guests do.
When all have finished. she rises from the table arnd
tile others follow.
If vou have no dinner partner, push your ch:,ir from
the table b\ takLir hold of each side of tle seat of
thie chai. Don t rest \oui hands or arms on tlhe table.
then pus.lh ourislt up. W\hen i seating .ourself step close
to thu table and pull th~e chair toward \ou b\ taking







AT DINNER 71

hold of each side of the seat. Don't seat Yourself then
roove the chair to the table with t\\w ot three jerks.

Time to Deparl
It is t neI t ssar\ to Iemain lonll.'er than tliirt\ miinurtes
after a diiiner if the in station doe' not include the en-
tire evening. One should awoid seeminiiL' in a huirv to
depart. however.








* 7


VOICE AND CONVERSATION


THE OUTWARD APPEARANCE FIRST ATTRACTS OR REPELS
others, but it is the \oice and what is said that actually
reveal true personality. This is one reason \why so much
importance is attached to the personal interview.
Young persons' \oices are usually brisk, animated,
and full of life because the world is ahead of them.
Older persons should attempt to retain some of their
youthful enthu-iasm instead of letting defeat and dis-
illusionment show in flat. monotonous voices.

Quality and Pitch
The ,ooild is read\ to take you at your own evaluation;
and the voice, by its quality and pitch, reveals much
to others. If \ou have confidence in yourself, show, it in
your voice; and others will be inclined to have confi-
dence in Vou too. If tour life is without purpose, this
fact will be reflected in \our voice.
A high. shrill %oice is irritating to the listener; and so
is the lo\\. mumbling monotone. The lazy person or the
limid. self-conscious person often speaks in such a low.
lifeless tone that lie is not understood at all. A conver-






VOICE AND CONVERSATION


station consisting mostly of, :I beg ouir pardon: I didn't
understand" ( nce r sa\, "'\hat?"). takes so iniuch effort
on the part of the listener that he terminates the con-
ersation as quickly as possible. NlMoe the upper lip
lien you speak; don't talk under it, for that habit
makes your speech indistinct and your face appear
stolid and expressionless.
Listen to those around 'ou. Notice how\ many talk
too fast and too loud, how many. pitch their voicess too
high, and ho\w manr talk unceasingly in a lifeless mono-
tone. Then try to analyze these persons. \Wh\ do they
talk as they do? Some are nervous and high-strung;
others are discouraged or ill: and still others, by means
of their loud laughter and conversation, are simply try-
ing to attract attention to themselves.
What a contrast is the low, well-modulated voice-
the voice of the person of poise. Instead of shrieking
with laughter at a humorous situation, this person
shows his appreciation by a laugh, surely, but more by
the animated face and sparkling eyes. The forced laugh
or smile doesn't deceive many, for the face and eyes re-
veal the true feeling.

The Telephone Voice
Since so much business is carried on by means of the
local and long-distance telephone, it is especially im-
poitant that the telephone voice and manner be cour-
teous at all times. Speak into the transmitter and use a







74 WHAT DO I DO NOW?
clear, slow, on\ersationlial tone: a low-pitched nice
cai ries better even o\ er tih long-distaice wires. Never
shout 01 vell.
It is I. waste of time to ansvwc the telephone b' say-
ing. H-ello If the Call is an office call. say. "Mr. Day's
office. iss Williams speakingc.' or. This is Mr. Day's
secretary speakiiig." or. simply. "Mr. Da\'s office." If
the call is to a (depai.tment, say. ''"Accounting Depart-
ment Miss Grant speaking." The one making the call
sliould say, 'This is Mr. Creen of Sterling & Sons," then
tell tlhe purpose of the call. It the tCl.pihotn has been
answered by a man, tile one calling nma omit his title
and say. "This is Creen of Sterling &\ Sons." A woman
alwa\'s usEs her title, as, "This is Miss Brown of Sterling
& Sons."
The one answering the call then ci, es the desired in-
formation if it is ethical to do so: or. if the callr is
knoxo n and has asked for a definite person, sa\s, "Mr.
Brown is not in: may I take the m-esa ge or, "Mr.
Brown is in and \will speak with you immediate ." If
the one calling does not gi'e his ii.nme, the secretary
man sa\. "Nla\ I tell Mr. Da\ l1ho is calling, please?"
In this way. tlhe businies of the call is tal-uen caie of in a
courlteous, e(fect.\e arilner, iin the mIInunm-liI time.

Pronunciation
Don't t:ke either life or yourself too seiiousl\ Tuni an
embarrassing situation in to -a ihun-orous one. if possible.






VOICE AND CONVERSATION


Evnci one lias his nemblarlassing rInornents: Vours are not
uniijue. If \ou hav- rnispOilOUllccd a word and later
learn that \ou iha\c, profit by \otr experiences. Don't
mispronounce tlhe \iwoZdainl. Exer\ t ine that \oi
he-ir a word pronounced in a was different froti \nwiat
\ou ate accusto-md, look it up to see if you are usingt i- a
pronunciation that is not preferred. If \.ou are. change.

Tact
Don't be self-centereld don't talk about \sloursclf all the
time. In answer to*:, "IIHo: are \ou?" do l't tell lho\
Laid \ou'\e had to work all week: ho\'. everxione im-
poses on \ou; an-d how. as a result, \ou'\e been taking
treatments, and so on. Others may get the idea that you
are a poor manager, non-co-operative, just a little weak
mentally, or something else equally bad.

Don't talk about your indigestion,
"How are you?" is a greeting-not a question.

What we say and how we say it! Volumes may be
said in just a few words. Think before you speak rather
than afterward. Be tactful in your remarks. Think of
the effect on those who will hear what you say. Many
things are better left unsaid.

Be Interested
Be interested in things and people. Listen, really listen,
to what others have to say. Don't be thinking of what







76 WHAT DO I DO NOW?
vou Lare going to sa\ next and be so intent on it that
you inteniupt the one who is speaking. This is one of
the rudest habits that a person can have. If this habit
is \OLIur, attempt to conquer it at once.
If \ou are inteiested-sincerely interested-in things
and people, you will have much to talk about, and
there vill be much that ;ou \\ill learn from others. for
the wise person seeks the company of those who can
supplement his knowledge. There is great value in a
mutual exchange of ideas when each one has the ex-
perience of clarify ing his thoughts by putting them into
words.

Be Inleresling
Know something. something worth while, know the
meanings of .wolds and be able to express ?ourself in an
unhampered manner: listen to the other person: and.
above all, recognize the value of humor in a situation.
Then people %will say of you. "What an interesting
pe sonality!"








* s *


INTRODUCTIONS


THE ABILITY TO MAKE INTRODUCTIONS CORRECTLY IS VERY
important. Introductions should not be made unneces-
sarily but on many occasions must not be omitted. Each
guest should be introduced to a guest of honor. If a
guest has been overlooked in this respect, he should re-
quest to be introduced. All guests at a small luncheon
or dinner should be introduced. The hostess should
see that her guests are introduced to those near whom
they are to be seated if the gathering is rather large; she
should be sure to introduce the four who are to play
together at bridge.

A Man to a Woman
In the social world a man is always introduced to a
woman, "Mrs. Brown, may I present Mr. Black," or,
"Mrs. Brown, I should like to present Mr. Black." The
word "present" makes this introduction the most formal
of all introductions. The same introduction may also
be made in the following ways, "Mrs. Brown, I should
like to introduce Mr. Black," or, "Mrs. Brown, Mr.
Black," as it is not necessary to use a sentence in an
77







78 WHAT DO I DO NOW?
introduction. Marni persons piefer the correct but less
formal introduction. "Mi. Black, have \ou met Mrs.
Browiin? or. "Mr. Blick, rna\' I introduce \you to Mrs.
Brown." This last. howcvei. is not spoken with the ris-
ing inflection as it is not a question directed to Mr.
Black. In all instances cited, the deference is being
sho\Twn Mrs. Blown.

Younger Person to Older
Intioduce a younger person to an older person of
Ill- same sex, as. "Miss Older, may I present Miss
Younger?" "M iss Older. rma\ I present Mirs. Younger?"
or. "M'iss Younger. ha\e you met Miss Older?" An ex-
ception to this rule is made if tle \touriner person is
the more distiinguisled of the two. Others are intro-
duced to a distii'nguished person: as. "Miss Distin-
guished, may I present Mrs. Brownr"
'Nccr say. '"lay I present," or, "MNia I introduce."
when introducing, t\.,o mien: sav, '"MI. Older. Mr.
Younger," "Mr. Younger, do you knox, Mr Oldei. or.
'Mr. Yournger, hixe \ou rnet MIr. Olcde?'"

Group Introduclions
The person \hio is introducing a man to a g'rioup says.
"Mr. Lake, I should Ilke to introduce \ou to Miss Smitih,
Mr. James. Mis. Lyons, and Miss Flocyd." the names
being given iln thie older in \i nch thle guests are stand-
ing on sitting. If a woman is being introduced to the






INTRODUCTIONS


group. the person \hlo is introduciing-s sas, "-Miss Blake
may I intind.ice Mliss Smiith., NIr. Janmis. Mirs. L\ons,
arid Miss Floyd''
II two persons are being introduced to a g~ oup, their
naris are gi\en. then the inan'es of tl group. If One of
the t\o is a \\oonian. her aine, of course, is ,i nii first.
The one -\ho is being introduced si \s. 'IIo\v do oOLI
do." to one person. and to tile ne'et nmay nod or smi le, to
avoid a\\kwaid repetitions.
At a small party of fihe or sL\, tile stranieri is intro-
duccd to all gue.st.; at a large part., he is introduced
onl\ to those near \hlioni le \\ill be. seated. g 'est is
never led around the room to be introduced to those
present.

Self-Introductions
Self-introductions are sometimes necessary. In such
situations a man introduces himself as, "John Jones";
or, if a title would be used when addressing him, as
"Dr. Jones." A woman introduces herself as "Mary Gor-
don," unless the situation is very formal, when she in-
troduces herself as "Miss Gordon." A married woman
introduces herself as "Mlrs. Brownn'

Receiving-Line Introductions
All guest, aIl presented to a distinizuished woman guest
of honor, even tloulrgh -rnoe of tlie women guests are
miuch older than the honored .guest. If the guest of







WHAT DO I DO NOW?


honor is a man. \ven though a distinguished one. he is
presented to each woman. The men, however, except
eldcc-il ones, are presenti-d to him.
It a man and a woman approach the receiving line
together, the woman is presented First; then the man.
Each member of the receiving line shakes hands with
the guest and introduces him to the one w\ho is next in
the receiving line.

Introducing Relatives
The follovine less formal but correct introductions are
much used bv %ouiiger persons:
"Mr. Old, this mro\' brother. John."
"Dad. I'd like ;ou to meet Mary Jones. \\ho is work-
ing on the school paper with me.
"Mother, this is Marv Brow\n," or. "Mother, this is
Jim Bates.
"Miss Black. I want \ou to meet m\ mother, Mrs.
Ray." (Mother is remarried.)
"Mother, this is Mrs. Green-m\ mother, Mrs.
Grant." (The daughter is married: consequently, she
mentions her mother's name.)

"My Friend"
In introductions, it is permissible to sa\, "my aunt." "my
sister," or, "my cousin." i.it neLcr, "nmy friend." Also,
never say, "Shake hands \ ith," or. "I :want to make \ ou
acquainted with," when introducing two people. Men






INTRODUCTIONS


often make this mistake, "'Mr. Jones. mcct Mr. Smith."
'Have \ou met is correct. but "meet is not.

What to Say
The proper acknowledgment to an introduction is,
"Ho\v do you do," or, "How do you do, Mrs. Brown."
Ne,. cr say, "Pleased to meet you," or, "I'm glad to make
\our acquaintance"; your pleasure will be expressed
b\' \our voice. When leaving someone who has just
been introduced, say, "Good-by, I'm very glad to have
met you," or, "Good-by, I hope I shall see you again
soon." The response is, "Good-by, thank you," or,
"Good-by, I hope I shall, too."

What to Do
Men always shake hands with each other when they
are introduced. A woman may or may not offer her
hand to a man, just as she chooses; but if he offers his,
she should not be so rude as to ignore it. When women
are introduced to each other, they may or may not
shake hands, just as they wish. The older or the more
distinguished of the two should take the initiative.

When to Rise
A woman does not rise to meet a man unless he is her
host and she is meeting him for the first time or the
man is elderly. Women rise when they are introduced
to or hy an older woman or a woman of prominence.







82 WHAT DO I DO NOW?
A Iost or hostess rises to meet all guests and to sa\
good-bh. NMen and \womlen both rise to geet their
hostess. NMe-n rise for all intiodlnction. The\ al-o rise
v.len a woman enters Ilie roon \ here the\ are seated.
Thl y\ must remain standing i as long as thi: hostess or
an1\ othl:l .- 1omian st-inds. Meln also rise \\ hen older men
come into thl- room. Children rise- for all introdluctions.

Hots Removed or Lifted
When i ri, mr anrd n woman are walking alone the street
arnd m hat when tlie introduction is made rad keeps it off as
:long as the\ stand talking FHe replaces it \hlen, the\
start \.ailkiii again. A stiff hat is rermo\ed or lifted b\'
the brim, but soft hat is lifted b\ the crown, usually
in the right hand. Tlie hat is quickly transferred to the
left hand if those introduced shake hand.. A nan re-
mo\ es hiis glove to sh.lkt- li minds !,it ; \womi;an does not.
A man, lifts his hat when lie passes or meets a xxoman
lie knows, or if lie is with siomieone \who greets a v.omnan
acquaintance. A n-,an also lifts his hat to an older or
\er\ distinlgulished m:an. but he merely\ touches his fin-
gerc to the brrni of his hat wv.hen mieetiiig an acqu.aint-
,nie of his o\vn age and se\

Proper Business Introductions
Few intro,dictions are niade in a I.lsirness office, but
those \-ho are to work together should be intiodinced.






INTRODUCTIONS


_An executive should not introduce his secretaiv to
strar-ers in his office unless the secretary is to do soei,
\ uork for them. As a, genr-il rule. a secretary is intro-
dic.t-d orld to o thost sh i \woi ks for or \woiks witlh. This
introduction is no dillerent from an\ other; the man is
introduced to the w\\o:nin: as, "Mliss Da\. Llis is Mr.
Green. \\ho wishes to dictate some letter. to \ou."
An .nmplovee can facilitate matters for iis superior
\wlhen introducin,- a husiiess caller bh gi\ingi some ex-
plaination corncerning thli call: as. "Mr. Brown. this is
Nr. Class of the Citizens Trust Compan\, to see about
those Municipal Bonds."
W\hen ain e.\ecutite introduces his private secretary
to his \vife. tihe sLccltar rises and sa\s. "Ho\\ do \oii
do." After acknow\\ledging the introduction. she ma\
lea\ e the room during the wife's visit or go back to her
own work. In a business introduction, a man refers to
his wife as "Mrs. Brown," and she speaks of her hus-
band as ''Mr. Brown"; but in the social introduction to
acquaintances she is introduced as "my wife" and he
as "my husband"; to friends she is "Mary," and he is
"John."

A Man Rises
In :n office a man rises to receive a woman visitor and
remains standing until she has been introduced and is
seated. \\hen she rises to leave, he rises and walks with
her to the door.







84 WHAT DO I DO NOW?

\hen a busy person wishes to tennii:ite a confer-
ci'e-, lhe rises; iand of course the visitor ri.,-s too. Then
thel\' tart \\alkinr toward the door: before the \isitor
is ni\-re of what has happened, lihe finds himself in the
con idor.








*9 *


TRAVEL


AFTER THE LENGTH OF THE TRIP AND THE MODE OF
travel have been decided, plan to take just enough
baggage so that you will have with you what you
actually require. Wear and carry with you clothes that
the season and climate demand, dark enough not to
show soil, and of materials that do not wrinkle easily.
Be conservative in the color and style, so that you will
not be conspicuous and attract undue attention.

Baggage
The style and quality of your luggage should harmonize
with your personal appearance. Old, broken-down bags
and numerous bundles and boxes make a traveler look
ridiculous. The bundles and boxes will be in your and
your fellow passengers' way at every turn. Don't take
anything that you don't absolutely need. If you are
traveling by train, you are allowed to check 150 pounds
of baggage without additional charge. Get the baggage
to the station half an hour before the train is scheduled
to depart so that it will leave on the train with you and
will arrive when you do.







WHAT DO I DO NOW?


Traveler's Checks
Ha\ ing, d-ccided I.upor the clothes ;and luggage. next de-
cide howY \'ou wish to carrY \ our money. No one today
carries large n11111 of monel' iln i'csh. One ver conli-
\en ent wav\ of cam ing nimine\ is bi, meanns of trailers
clic ks. Tlie\ maY be proculed :-It banks. e\plri-ss ocfie.
or tra\erl agencies iii denoniinationii of $10. $20. $50,
and $100 b,)und in leather folders. A simall clharg.e
based onl ech .$100 worth of tra eler's checks pur-
chased, is madle for the service. Thle bu\er signs the
c'heckc when he piir chases then,. lie niILut also sign each
check ag.aini in the preseijce of the peison \%ho ccashes
it for hiim. This second signature sei es as an identifica-
tion. Traveler'; checks are acceptEd almost t ever\'\where
in the United States arnd in riany foreign coulntics.

Lost Checks
It is wise to list the numbers and denonimattions of tlhe
tiaziclr's checks \ou ibu\. Can i\ this initotmiitio in a
safe placc: don t put it in your purse or wallet. If your
clicks art lost or stolen, tihe nrumbiers and denomina-
tions ma\ then he telegiaplied to thli agency dait sold
them to vyou. If vou have lost A.n-t ican Express Trav-
clers Chcques. all xou need do is go to atin express of-
fice in anm citv and report your loss. This office will wire
the New York office. \\ here all Amerincn Express Tral-
elers Cheques are audited. Attcr a thorough intestiga-






TRAVEL


lion. \our money\ will be refunded to your home express
office. This sometimes takes as long as thiat da\ s. The
charge \ou paid when v:ou purchased '.our .American
Express Tranelers Cheques represents insurance, as
\ou are fully protected against loss or theft.

The Coach
If \ou have decided to travel by train. oun may buI
\our ticket for the coach. the Pullman car. or. in some
sections of the coun tr\ the tourist Pullman. The least
expensive of the three is the coach. Coach passengers
are not always assured of a seat, however, which ma\
make this class of travel unsatisfactory during the holi-
da\ seasons.
The modern de luxe coaches are comfortable for da\ -
time travel, but sleeping in a chair at night is not very
restful. However, pillows are supplied, increasing the
comfort of this mode of travel. Coach passengers have
dining-car privileges.

The Standard Pullman
If you have decided to travel in the standard Pullman,
you must buy a "first-class" railroad ticket, which is
higher in price than the coach ticket. This first-class
ticket 'ives you the pri\vlege ot buying a standard Pull-
man ticket for \our entire journey.
If \ou lhae a coach ticket for the entire journey,
however, \ou mav ride in the coach as far as you wish;






88 WHAT DO I DO NOW?
then have your railroad ticket validated for passage in
thle standard sleeping car or parlor car on payment of
the difference between the one-wa\ fiist-class railway
fare and the one-\way' coach fare applying between the
point ]hee the Pullman accomn odation is taken and
the point where it is given up. In addition, you must
purchase a Pullman ticket for the sleeping car or the
parlor car. whichever ou \w ish. The Pullman conductor
collects for the Pullman accommodations and issues a
cash fare receipt to you. This receipt indicates the car
and the accommodation assigned. There is no assur-
ance. however, that there will be Pullman space availa-
ble for those wishing to use this plan. This is often the
case during the holiday seasons.
The most convenient plan. and of course the most ex-
pensi\e. is to buy a Pullman ticket for the entire jour-
ney. This gives you, in addition to the sleeping accom-
nodation, access to the dining car, the club car, the
lounge car. and tle obser nation car.

A Berth
It \oii have a Pullman ticket for the entire trip. go to
the car indicated on your Pullman ticket when you
board the tr:iin. The number of \our seat or berth is in-
dicated on this ticket. If \ou are not traveling at night,
the ticket may read "Seat No. 12. Car 16": if you are
traveling at night. "Upper Berth No. 12. Car N."
If you hae a through Pullman ticket, vou are en-




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