Appearance
Excerpt
Excerpt from The Cook's Decameron, by Mrs. W. G. Waters
"Of course we understand that the success of a dinner depends much more
on the character of the guests than on the character of the food," said
Mrs. Sinclair; "and most of us, I take it, are able to fill our tables
with pleasant friends; but what of the dull people who know none but
dull people? What gain will they get by taking counsel how they shall
fill their tables?"
"More, perhaps, than you think, dear Mrs. Sinclair," said Sir John.
"Dull people often enjoy themselves immensely when they meet dull people
only. The frost comes when the host unwisely mixes in one or two
guests of another sort--people who give themselves airs of finding more
pleasure in reading Stevenson than the sixpenny magazines, and who don't
know where Hurlingham is. Then the sheep begin to segregate themselves
from the goats, and the feast is manque."
"Considering what a trouble and anxiety a dinner-party must be to the
hostess, even under the most favouring conditions, I am always at a
loss to discover why so many women take so much pains, and spend a
considerable sum of money as well, over details which are unessential,
or even noxious," said Mrs. Wilding. "A few flowers on the table are all
very well--one bowl in the centre is enough--but in many houses the cost
of the flowers equals, if it does not outrun, the cost of all the rest
of the entertainment. A few roses or chrysanthemums are perfect as
accessories, but to load a table with flowers of heavy or pungent scent
is an outrage. Lilies of the valley are lovely in proper surroundings,
but on a dinner-table they are anathema. And then the mass of paper
monstrosities which crowd every corner. Swans, nautilus shells, and even
wild boars are used to hold up the menu. Once my menu was printed on a
satin flag, and during the war the universal khaki invaded the dinner
table. Ices are served in frilled baskets of paper, which have a
tendency to dissolve and amalgamate with the sweet. The only paper on
the table should be the menu, writ plain on a handsome card."
Explanation
Detailed Explanation of the Excerpt from The Cook’s Decameron by Mrs. W. G. Waters
Context of the Work
The Cook’s Decameron: A Study in Taste (1901) by Mrs. W. G. Waters (pseudonym of Elizabeth Robins Pennell) is a satirical and conversational work structured as a series of dialogues among a group of upper-class diners discussing food, etiquette, and social customs. Inspired by Boccaccio’s Decameron—where characters tell stories to pass the time—the book uses a similar framing device, with guests at a dinner party debating culinary and social matters.
The excerpt presents a Victorian/Edwardian-era critique of dining etiquette, class pretensions, and the absurdities of high-society entertaining. The characters—Mrs. Sinclair, Sir John, and Mrs. Wilding—represent different perspectives on hospitality, guest selection, and the excesses of fashionable dining.
Breakdown of the Excerpt
1. Mrs. Sinclair’s Observation: The Role of Guests vs. Food
"Of course we understand that the success of a dinner depends much more on the character of the guests than on the character of the food... but what of the dull people who know none but dull people? What gain will they get by taking counsel how they shall fill their tables?"
Theme: Social Harmony vs. Class Anxiety Mrs. Sinclair suggests that a dinner’s success hinges on the guests’ personalities rather than the food, implying that good company is the true mark of a successful gathering. However, she raises a class-based dilemma: What about those who lack access to "pleasant friends"? Her question reveals Victorian/Edwardian anxieties about social mobility and exclusion—if one’s circle is inherently dull, can etiquette books or hosting advice truly help?
Literary Device: Rhetorical Question Her question is provocative, implying that some people are doomed to bad dinner parties due to their social limitations. This sets up Sir John’s response, which challenges her assumption.
Significance: The passage critiques the elitism of dining culture—only those with the "right" connections can host successful dinners, while others are left out. It also touches on the performative nature of hospitality in high society.
2. Sir John’s Rebuttal: The Comfort of Homogeneity
"More, perhaps, than you think, dear Mrs. Sinclair... Dull people often enjoy themselves immensely when they meet dull people only. The frost comes when the host unwisely mixes in one or two guests of another sort—people who give themselves airs of finding more pleasure in reading Stevenson than the sixpenny magazines, and who don’t know where Hurlingham is. Then the sheep begin to segregate themselves from the goats, and the feast is manqué."
Theme: Class Division and Social Segregation Sir John argues that homogeneous groups (even dull ones) can enjoy themselves, but mixing classes or tastes ruins the evening. His examples reveal snobbery and cultural divides:
- "Reading Stevenson vs. sixpenny magazines" → A dig at literary pretension (Stevenson was a respected author, while "sixpenny magazines" were cheap, popular entertainment).
- "Don’t know where Hurlingham is" → Hurlingham was an exclusive polo and social club in London; not knowing it marks someone as outside the elite circle.
- "Sheep and goats" → A biblical allusion (Matthew 25:32), suggesting a moral or social judgment—the "goats" (outsiders) disrupt the harmony of the "sheep" (the in-group).
Literary Devices:
- Irony: The idea that dull people are happiest together is humorous yet cutting.
- Metaphor ("frost comes"): The atmosphere turns cold when social mismatches occur.
- French term (manqué): Meaning "failed" or "botched," emphasizing the social disaster of poor guest selection.
Significance: Sir John’s remark exposes the hypocrisy of high society—it claims to value good company, but only if that company is uniform in class and taste. The passage also satirizes the rigid social codes of the era, where even minor cultural missteps (like not knowing an elite club) could ruin an evening.
3. Mrs. Wilding’s Critique: The Absurdity of Over-Decoration
"Considering what a trouble and anxiety a dinner-party must be to the hostess... I am always at a loss to discover why so many women take so much pains, and spend a considerable sum of money as well, over details which are unessential, or even noxious... A few flowers on the table are all very well—one bowl in the centre is enough—but in many houses the cost of the flowers equals, if it does not outrun, the cost of all the rest of the entertainment... The only paper on the table should be the menu, writ plain on a handsome card."
Theme: Excess and False Sophistication Mrs. Wilding mockingly dismantles the extravagant trends of Edwardian dining, arguing that hostesses waste money, effort, and taste on superfluous decorations that often detract from the meal. Her complaints target:
- Over-the-top floral arrangements (lilies of the valley on a dinner table are "anathema" because their strong scent interferes with the food).
- Gaudy paper decorations (swans, nautilus shells, khaki-themed menus during wartime) that are impractical and tacky.
- Theatrical presentation (ices in dissolving paper baskets, menus printed on satin flags) that prioritizes spectacle over substance.
Literary Devices:
- Hyperbole: "The cost of the flowers equals... the cost of all the rest of the entertainment" → Exaggerates to highlight absurdity.
- Juxtaposition: Contrasts simple elegance ("one bowl in the centre") with vulgar excess ("wild boars" holding menus).
- Sarcasm: "The universal khaki invaded the dinner table" → Mocks war-time trend-chasing in dining aesthetics.
Significance: Mrs. Wilding’s rant is a scathing critique of conspicuous consumption—the idea that wealthy hostesses compete in frivolous displays rather than focusing on good food and genuine hospitality. Her preference for minimalism ("writ plain on a handsome card") reflects a rejection of pretentiousness, aligning with the book’s broader satire of Edwardian high society.
Key Themes in the Excerpt
Class and Social Exclusion
- The dialogue reveals how tightly controlled social circles were, with outsiders (even slightly "different" ones) disrupting harmony.
- The anxiety of hosting—fear of mixing the wrong people, fear of being judged for decorations—reflects the pressure to conform.
Hypocrisy of High Society
- While claiming to value good company, the characters judge people based on trivial markers (literary tastes, knowledge of elite clubs).
- The obsession with appearances (flowers, paper decorations) is exposed as empty and wasteful.
Satire of Dining Trends
- The passage mocks the extravagant, often ridiculous, fads of Edwardian entertaining (war-themed menus, dissolving paper baskets).
- Suggests that true hospitality is lost in the pursuit of social performance.
Gender Roles and Hostess Anxiety
- The burden of hosting falls on women, who are expected to orchestrate flawless dinners while navigating social landmines.
- Mrs. Wilding’s frustration highlights the unspoken labor behind these events.
Literary Significance & Style
- Dialogue-Driven Satire: The book’s conversational format allows for sharp, witty critiques of societal norms.
- Realism with a Bite: While rooted in real Edwardian dining customs, the exaggerations (khaki menus, wild boar menu holders) heighten the satire.
- Class Consciousness: The text exposes the unspoken rules of the upper class, making it a valuable social commentary.
- Timeless Relevance: The critique of performative hospitality and social anxiety remains applicable to modern dining culture (e.g., Instagram-worthy tablescapes over actual enjoyment).
Conclusion: What the Excerpt Reveals
This passage from The Cook’s Decameron is a masterclass in social satire, using humor, irony, and keen observation to dissect the absurdities of Edwardian dining culture. Through the voices of Mrs. Sinclair, Sir John, and Mrs. Wilding, the text explores:
- The fragility of social harmony (one "wrong" guest can ruin a dinner).
- The hypocrisy of class distinctions (dull people are fine—as long as they’re the right kind of dull).
- The wasteful extravagance of high-society entertaining.
Ultimately, the excerpt challenges the reader to consider: Is a dinner party about genuine connection, or is it just another performance in the theater of social status? The answer, in this satirical world, is decidedly the latter.