book-muslin dress and a tiny ruffled apron, making courtesies and
pirouetting down the path. It was much out of character that I, a St.
Francis squaw, in striped shirt, gold beads, and moccasins, should be
guilty of such wild hilarity. Ora's movements were free and graceful in
white Turkish trousers, a rich Oriental head-dress, and Charles Dana's
best tunic, which reached just below her knee. She was the observed of all
observers.

"In the midwinter we had a fancy-dress ball in the parlors of the Pilgrim
House, when the Shaws and Russells, generous friends of the association,
came attired as priests and dervishes. The beautiful Anna Shaw was superb
as a portly Turk in quilted robe, turban, mustache, and cimeter, and bore
herself with grave dignity.

"George W. Curtis, as Hamlet, led the quadrille with Carrie Shaw as a Greek
girl. His sad and solemn 'reverence' contrasted charmingly with her sunny
ease. He acted the Dane to the life, his bearing, the melancholy light in
his eyes, his black-plumed head-cover, and his rapier glittering under his
short black cloak, which fell apart in the dance, were all perfect. It was
a picture long to be remembered, and as long as I could watch these two I
had no desire to take part in the dance myself."

Another phase of Curtis's life at Brook Farm she also mentions, and it
gives a new insight into his character. The occasion described was a
social Sunday evening spent in the parlor of the Eyrie:

"At supper it was whispered that George W. Curtis would sing at the Eyrie,
upon which several young men volunteered to assist with the dishes. My
services were also cordially accepted.... And now we ascended the winding,
moonlit path to the Eyrie, where Curtis was already singing. We went up