It makes me melancholy to see how like fools some very sensible people act in the matter of choosing wives. They perplex their judgments by a most undue attention to little niceties of personal appearance, habits, disposition, and other trifles which concern nobody but the lady herself. An unhappy gentleman, resolving to wed nothing short of perfection, keeps his heart and hand till both get so old and withered that no tolerable woman will accept them. Now this is the very height of absurdity. A kind Providence has so skilfully adapted sex to sex and the mass of individuals to each other, that, with certain obvious exceptions, any male and female may be moderately happy in the married state. The true rule is to ascertain that the match is fundamentally a good one, and then to take it for granted that all minor objections, should there be such, will vanish, if you let them alone. Only put yourself beyond hazard as to the real basis of matrimonial bliss, and it is scarcely to be imagined what miracles, in the way of recognizing smaller incongruities, connubial love will effect.

Mrs. Bullfrog is a short story by Nathaniel Hawthorne (born Nathaniel Hathorne; July 4, 1804 - May 19, 1864) was an American novelist and short story writer. He was born in 1804 in Salem, Massachusetts to Nathaniel Hathorne and the former Elizabeth Clarke Manning. His ancestors include John Hathorne, the only judge involved in the Salem witch trials who never repented of his actions. Nathaniel later added a "w" to make his name "Hawthorne" in order to hide this relation. He entered Bowdoin College in 1821, was elected to Phi Beta Kappa in 1824, and graduated in 1825. Hawthorne published his first work, a novel titled Fanshawe, in 1828; he later tried to suppress it, feeling it was not equal to the standard of his later work. He published several short stories in various periodicals which he collected in 1837 as Twice-Told Tales. The next year, he became engaged to Sophia Peabody. He worked at a Custom House and joined Brook Farm, a transcendentalist community, before marrying Peabody in 1842. The couple moved to The Old Manse in Concord, Massachusetts, later moving to Salem, the Berkshires, then to The Wayside in Concord. The Scarlet Letter was published in 1850, followed by a succession of other novels. A political appointment took Hawthorne and family to Europe before their return to The Wayside in 1860. Hawthorne died on May 19, 1864, and was survived by his wife and their three children. Much of Hawthorne's writing centers on New England, many works featuring moral allegories with a Puritan inspiration. His fiction works are considered part of the Romantic movement and, more specifically, Dark romanticism. His themes often center on the inherent evil and sin of humanity, and his works often have moral messages and deep psychological complexity. His published works include novels, short stories, and a biography of his friend Franklin Pierce.

The common law action for breach of promise of marriage originated in the mid-seventeenth century, but it was not until the nineteenth century that it rose to prominence and became a regular feature in law courts and gossip columns. By 1940 the action was defunct, it was inconceivable for a respectable woman to bring such a case before the courts. What accounts for this dramatic rise and fall? This book ties the story of the action's prominence and decline between 1800 and 1940 to changes in the prevalent conception of woman, her ideal role in society, sexual relations, and the family. It argues that the idiosyncratic breach-of-promise suit and Victorian notions of ideal femininity were inextricably, and fatally, entwined. It presents the nineteenth-century breach-of-promise action as a codification of the Victorian ideal of true womanhood and explores the longer-term implications of this infusion of mythologized femininity for the law, in particular for the position of plaintiffs. Surveying three consecutive time periods - the early nineteenth century, the high Victorian and the post-Victorian periods - and adopting an interdisciplinary approach that combines the perspectives of legal history, social history, and literary analysis, it argues that the feminizing process, by shaping a cause of action in accordance with an ideal at odds with the very notion of women going to law, imported a fatal structural inconsistency that at first remained obscured, but ultimately vulgarized and undid the cause of action. Alongside more than two hundred and fifty real-life breach-of-promise cases, the book examines literary and cinematic renditions of the breach-of-promise theme, by artists ranging from Charles Dickens to P.G. Wodehouse, to expose the subtle yet unmistakable ways in which what happened (and what changed) in the breach-of-promise courtroom influenced the changing representation of the breach-of-promise plaintiff in nineteenth- and early twentieth-century literature and film.

It makes me melancholy to see how like fools some very sensible people act in the matter of choosing wives. They perplex their judgments by a most undue attention to little niceties of personal appearance, habits, disposition, and other trifles which concern nobody but the lady herself. An unhappy gentleman, resolving to wed nothing short of perfection, keeps his heart and hand till both get so old and withered that no tolerable woman will accept them. Now this is the very height of absurdity. A kind Providence has so skilfully adapted sex to sex and the mass of individuals to each other, that, with certain obvious exceptions, any male and female may be moderately happy in the married state. The true rule is to ascertain that the match is fundamentally a good one, and then to take it for granted that all minor objections, should there be such, will vanish, if you let them alone. Only put yourself beyond hazard as to the real basis of matrimonial bliss, and it is scarcely to be imagined what miracles, in the way of recognizing smaller incongruities, connubial love will effect.