The narrator uses (and explicitly defines) a period-specific idiom to explain Drouet's flirtatious and sometimes predatory character:
He came within the meaning of a still newer term, which had sprung into general use among Americans in 1880, and which concisely expressed the thought of one whose dress or manners are calculated to elicit the admiration of susceptible young women—a 'masher.'
The idiom "masher" provides insight into the cultural dynamics of the late 19th century. Originating from the act of “mashing” or pushing, this term gives the reader a lens into the invasive behavior of men like Drouet, who make advances towards women. The origin of the term, as related to "mashing" or physically pushing into women, is significant. As women began to occupy public spaces more frequently during this period (as workers, activists or public entertainers), their visibility led to them being seen as more "accessible" for unsolicited advances like Drouet’s. The act of 'mashing' oneself into women in public is part of patriarchal 19th-century American society's attempts to encroach on women in their newly claimed spaces.
Drouet's characterization as a "masher" is layered. On the surface, he's well-dressed, charming, and confident in his interactions with women. But the undertones associated with "masher" suggest the narrator is warning the reader about an assertiveness that borders on intrusion. He is not above making women uncomfortable to get what he wants or to make an impression.
Further, by informing the reader that Drouet is a "masher," Dreiser taps into a familiar trope in the Naturalist genre of fiction. Drouet is an urban man whose polished exterior has the potential to mask his more predatory intentions. This serves as a cautionary note for characters like Carrie and, by extension, the reader. It's a reminder of the need for caution in a world where appearances can be deceiving, especially because, by this point, the reader knows Drouet is a flirt and a social climber.
When introducing Drouet’s attempts to convince people of his wealth and suitability, the narrator employs a period-specific idiom. The idea of “hornswaggling” underscores Drouet's vulnerability, highlighting the ease with which he can be deceived by people who are devious:
A truly deep-dyed villain could have hornswaggled him as readily as he could have flattered a pretty shop-girl.
The term "hornswaggled" is a colorful idiom from the mid 1800s that refers to the roping of cattle. Hailing from the cattle ranches of the 19th century, the word means "to be swindled or misled." It evokes an image of the pastoral and of innocence, as if Drouet were a recent arrival from the country easily deceived by city folk. Someone who can be “hornswaggled” can be led around like a steer. This conveys a sense of playful deception rather than anything malicious or deeply harmful; even though, in this context Drouet’s relative innocence does make him vulnerable. His ability to be “hornswaggled” draws a parallel between his capability to flatter “pretty shop-girls” and the potential others might have to take advantage of him through similar "flattery."
Though Drouet postures himself—especially towards Carrie and his other paramours—with an air of sophistication and urbanity, this passage exposes a chink in his armor. It suggests that, beneath his confident exterior, he’s actually quite gullible. This contrast emphasizes the gap between the suave demeanor he puts on and his underlying innocence.
While backstage, a nervous Carrie is met with consolation from Drouet, who uses an idiom to push her toward giving a more energetic performance:
Carrie revived a little under the drummer’s electrical, nervous condition. "Did I do so very bad?"
"Not a bit. All you need is a little more ginger. Do it as you showed me. Get that toss of your head you had the other night."
The idiom "a little more ginger" refers to Carrie’s need to pep herself up and give more energy to her work onstage. The idiom refers to the cruel practice of introducing an irritant (like ginger root) into a horse’s genitals to make it move more energetically and dynamically. Although the term is historically tied to making horses appear more spirited, it's employed here to urge Carrie to infuse her performance with more zeal. Adding “ginger” to her act, in Drouet’s opinion, would make it more appealing to her audience.
However, there's another layer to this comment, which has an undertone of sexual innuendo. Comparing an actress to a “gingered” horse hints at the stereotypes surrounding the period's theatrical environment. Women, especially in the theater world, often navigated a dual role. They were assumed to be sexually less inhibited because they were involved in public spectacles: they were performers on stage and, frequently, objects of male attention offstage. This tension is palpable in Drouet's words. He is telling Carrie how to sell herself to appeal to men, like a “gingered” horse might to prospective buyers. This reflects the intricate dance of societal expectations and sexual boundaries that female performers like Carrie had to traverse during this era.
