In reading Book II of OMF, two matters seized my attention: 1. The commonality shared by the many female characters of some sort of romantic ideal or projection and 2. The continual use of the mirror as an instrument of truth. Beginning with Georgiana Podsnap to Bella Wilfer, Miss Peecher, Lizzie Hexam, and finally with Pleasant Riderhood, each character communicates a dream of love. Regardless of her social status, upbringing, education, or financial situation, each young woman lacks that which she most desires. In observing the "love" shared by the Lammles, Georgiana admires the "gallantry and attention" (256) with which he treats his wife. Despite her verbal protests to discover her own "notion of a lover" (256), Georgina is nonetheless captivated by the idea of romance. Bella, too, imagines a life romance and adventure, daydreaming of meeting and marrying a money-making merchant. While more ambitious in her aspirations than Georgiana--likening herself to a "modern Cleopatra (315)--Bella still longs for love. A secondary character, Miss Peecher, also participates in pining for a prince. Fixed upon Mr. Headstone, Miss Peecher "would commit to the confidential slate an imaginary description" the courtship between herself and the schoolmaster. Again, like Georgina and Bella, Miss Peecher must only imagine, as she remains the victim of unrequited love. Lizzie Hexam, despite her many admirers, talks of true love with an imagined lover. Wrayburn, Headstone, and possibly Fledgeby, are enraptured by Lizzie, yet she fantasizes about being rich (like Bella) and experiencing ultimate devotion in love. Pleasant Riderhood--most like Lizzie in upbringing and social status--is the final installment of young woeful women wishing to be wooed. She, again like Bella, fancies a romantic adventure and envisions her own "Miss Pleasant's Eden"...complete with sailors. Each of these women has experienced a distinct upbringing and lifestyle, yet they all share the dream of love, in whatever form pleases them. The twice mentioned object of the mirror in Book II reminded me of the scene at the Veneering's party in Book I in which everyone is reflected in the most veracious manner. The introduction of the mirror in Book II occurs at the Lammle home. After what must have been an excruciating few moments of affectation between the couple for the benefit of their guest, the two exhibit their true feelings for one another with the use of the mirror. He "smirking in it", while she regards him with "disdain" (259). Later, Bella uses a mirror to confirm the truth about her attitude and actions toward Mr. Rokesmith. What I found most interesting about these two instances is the idea that the mirror is serving as a conveyer of reality. I myself consider a mirror to be an object of falseness or semblance. People tend to use the mirror as a means to verify the best possible self image, smiling and primping for the welcome observer. Yet in the case of the Lammles and Bella, their behavior toward others bears falseness while the mirror bears witness to the truth.