Boston hostesses solve the problem of a young girl’s success in a ballroom in a way unknown in New York, by having ushers.

=USHERS=

Each hostess chooses from among the best known young men in society, who have perfect address and tact, a number to act as ushers.  They are distinguished by white boutonnieres, like those worn by ushers at a wedding, and they are deputy hosts.  It is their duty to see that wall-flowers are not left decorating the seats in the ballroom and it is also their duty to relieve a partner who has too long been planted beside the same “rosebud.”

The ushers themselves have little chance to follow their own inclinations, and unless the “honor” of being chosen by a prominent hostess has some measure of compensation, the appointment—­since it may not be refused—­is a doubtful pleasure.  An usher has the right to introduce anyone to anyone without knowing either principal personally and without asking any lady’s permission.  He may also ask a lady (if he has a moment to himself) to dance with him, whether he has ever met her or not, and he can also leave her promptly, because any “stag” called upon by an usher must dance.  The usher in turn must release every “stag” he calls upon by substituting another; and the second by a third and so on.  In order to make a ball “go,” meaning to keep everyone dancing, the ushers have on occasions to spend the entire evening in relief work.

At a ball where there are ushers, a girl standing or sitting alone would at once be rescued by one of them, and a rotation of partners presented to her.  If she is “hopeless”—­meaning neither pretty nor attractive nor a good dancer—­even the ushers are in time forced to relieve her partners and take her to a dowager friend of the hostess, beside whom she will be obliged to sit until she learns that she must seek her popularity otherwhere than at balls.

On the other hand, on an occasion when none of her friends happen to be present, the greatest belle of the year can spend an equally deadly evening.

=THE DANCE PROGRAM=

The program or dance-card of public balls and college class dances, has undeniable advantages.  A girl can give as many dances as she chooses to whomever she chooses; and a man can be sure of having not only many but uninterrupted dances with the one he most wants to be with—­provided “she” is willing.  Why the dance-card is unheard of at private balls in New York is hard to determine, except that fashionable society does not care to take its pleasure on schedule!  The gilded youth likes to dance when the impulse moves him; he also likes to be able to stay or leave when he pleases.  In New York there are often two or three dances given on the same evening, and he likes to drift from one to the other just as he likes to drift from one partner to another, or not dance at all if he does not want to.  A man who writes himself down for the tenth jazz must be eagerly appearing on the stroke of the first bar.  Or if he does not engage his partners busily at the opening of the evening, he can not dance at all—­he may not want to, but he hates not being able to.