Only in society does the Disagreeable Girl shine--everywhere else she is
an abject failure. The much-vaunted Gibson Girl is a kind of de luxe
edition of Shaw's Disagreeable Girl. The Gibson Girl lolls, loafs,
pouts, weeps, talks back, lies in wait, dreams, eats, drinks, sleeps and
yawns. She rides in a coach in a red jacket, plays golf in a secondary
sexual sweater, dawdles on a hotel veranda, and can tum-tum on a piano,
but you never hear of her doing a useful thing or saying a wise one.
She plays bridge whist, for "keeps" when she wins, and "owes" when she
loses, and her picture in flattering half-tone often adorns a page of
the Sunday Yellow.

She reveals a beautiful capacity for avoiding all useful effort.

Gibson gilds the Disagreeable Girl.

Shaw paints her as she is.

In the _Doll's House_ Henrik Ibsen has given us _Nora Hebler_, a
Disagreeable Girl of mature age, who, beyond a doubt, first set George
Bernard Shaw a-thinking. Then looking about, Shaw saw her at every turn
in every stage of her moth-and-butterfly existence.

And the Disagreeable Girl being everywhere, Shaw, dealer in human
character, cannot write a play and leave her out, any more than the
artist Turner could paint a picture and leave man out, or Paul Veronese
produce a canvas and omit the dog.

The Disagreeable Girl is a female of the genus homo persuasion, built
around a digestive apparatus that possesses marked marshmallow
proclivities. She is pretty, pug-nosed, pink, pert and poetical; and at