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- Herausgeber: Krill Press
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Das E-Book The Ways of Men wird angeboten von Krill Press und wurde mit folgenden Begriffen kategorisiert:
history; lincoln; civil war; revolution; washington; jefferson; franklin
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Seitenzahl: 321
Veröffentlichungsjahr: 2016
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THE WAYS OF MEN
Eliot Gregory
FIREWORK PRESS
Thank you for reading. In the event that you appreciate this book, please consider sharing the good word(s) by leaving a review, or connect with the author.
This book is a work of nonfiction and is intended to be factually accurate.
All rights reserved. Aside from brief quotations for media coverage and reviews, no part of this book may be reproduced or distributed in any form without the author’s permission. Thank you for supporting authors and a diverse, creative culture by purchasing this book and complying with copyright laws.
Copyright © 2016 by Eliot Gregory
Interior design by Pronoun
Distribution by Pronoun
TABLE OF CONTENTS
CHAPTER 1—“Uncle Sam”
CHAPTER 2—Domestic Despots
CHAPTER 3—Cyrano, Rostand, Coquelin
CHAPTER 4—Machine-made Men
CHAPTER 5—Parnassus
CHAPTER 6—Modern Architecture
CHAPTER 7—Worldly Color-Blindness
CHAPTER 8—Idling in Mid-Ocean
CHAPTER 9—“Climbers” in England
CHAPTER 10—Calvé at Cabrières
CHAPTER 11—A Cry For Fresh Air
CHAPTER 12—The Paris of our Grandparents
CHAPTER 13—Some American Husbands
CHAPTER 14—“Carolus”
CHAPTER 15—The Grand Opera Fad
CHAPTER 16—The Poetic Cabarets of Paris
CHAPTER 17—Etiquette At Home and Abroad
CHAPTER 18—What is “Art”?
CHAPTER 19—The Genealogical Craze
CHAPTER 20—As the Twig is Bent
CHAPTER 21—Seven Small Duchesses
CHAPTER 22—Growing Old Ungracefully
CHAPTER 23—Around a Spring
CHAPTER 24—The Better Part
CHAPTER 25—La Comédie Française à Orange
CHAPTER 26—Pre-palatial Newport
CHAPTER 27—Sardou at Marly-le-Roy
CHAPTER 28—Inconsistencies
CHAPTER 29—Modern “Cadets de Gascogne”
CHAPTER 30—The Dinner and the Drama
CHAPTER 31—The Modern Aspasia
CHAPTER 32—A Nation in a Hurry
CHAPTER 33—The Spirit of History
The Ways of Men
By
Eliot Gregory
The Ways of Men
Published by Firework Press
New York City, NY
First published circa 1915
Copyright © Firework Press, 2015
All rights reserved
Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.
About Firework Press
Firework Pressprints and publishes the greatest books about American history ever written, including seminal works written by our nation’s most influential figures.
CHAPTER 1—“UNCLE SAM”
THE GENTLEMAN WHO GRACED THE gubernatorial armchair of our state when this century was born happened to be an admirer of classic lore and the sonorous names of antiquity.
It is owing to his weakness in bestowing pompous cognomens on our embryo towns and villages that to-day names like Utica, Syracuse, and Ithaca, instead of evoking visions of historic pomp and circumstance, raise in the minds of most Americans the picture of cocky little cities, rich only in trolley-cars and Methodist meeting-houses.
When, however, this cultured governor, in his ardor, christened one of the cities Troy, and the hill in its vicinity Mount Ida, he little dreamed that a youth was living on its slopes whose name was destined to become a household word the world over, as the synonym for the proudest and wealthiest republic yet known to history, a sobriquet that would be familiar in the mouths of races to whose continents even the titles of Jupiter or Mars had never penetrated.
A little before this century began, two boys with packs bound on their stalwart shoulders walked from New York and established a brickyard in the neighborhood of what is now Perry Street, Troy. Ebenezer and Samuel Wilson soon became esteemed citizens of the infant city, their kindliness and benevolence winning for them the affection and respect of the community.
The younger brother, Samuel, was an especial favorite with the children of the place, whose explorations into his deep pockets were generally rewarded by the discovery of some simple “sweet” or home-made toy. The slender youth with the “nutcracker” face proving to be the merriest of playfellows, in their love his little band of admirers gave him the pet name of “Uncle Sam,” by which he quickly became known, to the exclusion of his real name. This is the kindly and humble origin of a title the mere speaking of which to-day quickens the pulse and moistens the eyes of millions of Americans with the same thrill that the dear old flag arouses when we catch sight of it, especially an unexpected glimpse in some foreign land.
With increasing wealth the brickyard of the Wilson brothers was replaced by an extensive slaughtering business, in which more than a hundred men were soon employed—a vast establishment for that day, killing weekly some thousand head of cattle. During the military operations of 1812 the brothers signed a contract to furnish the troops at Greenbush with meat, “packed in full bound barrels of white oak”; soon after, Samuel was appointed Inspector of Provisions for the army.
It is a curious coincidence that England also should have taken an ex-army-contractor as her patron saint, for if we are to believe tradition, St. George of Cappadocia filled that position unsatisfactorily before he passed through martyrdom to sainthood.
True prototype of the nation that was later to adopt him as its godfather, the shrewd and honest patriot, “Uncle Sam,” not only lived loyally up to his contracts, giving full measure and of his best, but proved himself incorruptible, making it his business to see that others too fulfilled their engagements both in the letter and the spirit; so that the “U.S.” (abbreviation of United States) which he pencilled on all provisions that had passed his inspection became in the eyes of officers and soldiers a guarantee of excellence. Samuel’s old friends, the boys of Troy (now enlisted in the army), naïvely imagining that the mystic initials were an allusion to the pet name they had given him years before, would accept no meats but “Uncle Sam’s,” murmuring if other viands were offered them. Their comrades without inquiry followed this example; until so strong did the prejudice for food marked “U.S.” become, that other contractors, in order that their provisions should find favor with the soldiers, took to announcing “Uncle Sam” brands.
To the greater part of the troops, ignorant (as are most Americans to-day) of the real origin of this pseudonym, “Uncle Sam’s” beef and bread meant merely government provisions, and the step from national belongings to an impersonation of our country by an ideal “Uncle Sam” was but a logical sequence.
In his vigorous old age, Samuel Wilson again lived on Mount Ida, near the estates of the Warren family, where as children we were taken to visit his house and hear anecdotes of the aged patriot’s hospitality and humor. The honor in which he was held by the country-side, the influence for good he exerted, and the informal tribunal he held, to which his neighbors came to get their differences straightened out by his common sense, are still talked of by the older inhabitants. One story in particular used to charm our boyish ears. It was about a dispute over land between the Livingstons and the Van Rensselaers, which was brought to an end by “Uncle Sam’s” producing a barrel of old papers (confided to him by both families during the war, for safe keeping) and extracting from this original “strong box” title deeds to the property in litigation.
Now, in these troubled times of ours, when rumors of war are again in the air, one’s thoughts revert with pleasure to the half-mythical figure on the threshold of the century, and to legends of the clear-eyed giant, with the quizzical smile and the tender, loyal heart, whose life’s work makes him a more lovable model and a nobler example to hold up before the youth of to-day than all the mythological deities that ever disported themselves on the original Mount Ida.
There is a singular fitness in this choice of “Uncle Sam” as our patron saint, for to be honest and loyal and modest, to love little children, to do one’s duty quietly in the heyday of life, and become a mediator in old age, is to fulfil about the whole duty of man; and every patriotic heart must wish the analogy may be long maintained, that our loved country, like its prototype, may continue the protector of the feeble and a peace-maker among nations.
CHAPTER 2—DOMESTIC DESPOTS
THOSE WHO WALK THROUGH THE well-to-do quarters of our city, and glance, perhaps a little enviously as they pass, toward the cheerful firesides, do not reflect that in almost every one of these apparently happy homes a pitiless tyrant reigns, a misshapen monster without bowels of compassion or thought beyond its own greedy appetites, who sits like Sinbad’s awful burden on the necks of tender women and distracted men. Sometimes this incubus takes the form of a pug, sometimes of a poodle, or simply a bastard cur admitted to the family bosom in a moment of unreflecting pity; size and pedigree are of no importance; the result is always the same. Once Caliban is installed in his stronghold, peace and independence desert that roof.
We read daily of fathers tyrannizing over trembling families, of stepmothers and unnatural children turning what might be happy homes into amateur Infernos, and sigh, as we think of martyrdoms endured by overworked animals.
It is cheering to know that societies have been formed for the protection of dumb brutes and helpless children. Will no attempt be made to alleviate this other form of suffering, which has apparently escaped the eye of the reformer?
The animal kingdom is divided—like all Gaul—into three divisions: wild beasts, that are obliged to hustle for themselves; laboring and producing animals, for which man provides because they are useful to him—and dogs! Of all created things on our globe the canine race have the softest “snap.” The more one thinks about this curious exception in their favor the more unaccountable it appears. We neglect such wild things as we do not slaughter, and exact toil from domesticated animals in return for their keep. Dogs alone, shirking all cares and labor, live in idle comfort at man’s expense.
When that painful family jar broke up the little garden party in Eden and forced our first parents to work or hunt for a living, the original Dog (equally disgusted with either alternative) hit on the luminous idea of posing as the champion of the disgraced couple, and attached himself to Adam and Eve; not that he approved of their conduct, but simply because he foresaw that if he made himself companionable and cosy he would be asked to stay to dinner.
From that day to the present, with the exception of occasionally watching sheep and houses—a lazy occupation at the best—and a little light carting in Belgium (dogs were given up as turn-spits centuries ago, because they performed that duty badly), no canine has raised a paw to do an honest day’s work, neither has any member of the genus been known voluntarily to perform a useful act.
How then—one asks one’s self in a wonder—did the myth originate that Dog was the friend of Man? Like a multitude of other fallacies taught to innocent children, this folly must be unlearned later. Friend of man, indeed! Why, the “Little Brothers of the Rich” are guileless philanthropists in comparison with most canines, and unworthy to be named in the same breath with them. Dogs discovered centuries ago that to live in luxury, it was only necessary to assume an exaggerated affection for some wealthy mortal, and have since proved themselves past masters in a difficult art in which few men succeed. The number of human beings who manage to live on their friends is small, whereas the veriest mongrel cur contrives to enjoy food and lodging at some dupe’s expense.
Facts such as these, however, have not over-thrown the great dog myth. One can hardly open a child’s book without coming across some tale of canine intelligence and devotion. My tender youth was saddened by the story of one disinterested dog that refused to leave his master’s grave and was found frozen at his post on a bleak winter’s morning. With the experience of years in pet dogs I now suspect that, instead of acting in this theatrical fashion, that pup trotted home from the funeral with the most prosperous and simple-minded couple in the neighborhood, and after a substantial meal went to sleep by the fire. He must have been a clever dog to get so much free advertisement, so probably strolled out to his master’s grave the next noon, when people were about to hear him, and howled a little to keep up appearances.
I have written “the richest and most simple minded couple,” because centuries of self-seeking have developed in these beasts an especial aptitude for spotting possible victims at a glance. You will rarely find dogs coquetting with the strong-minded or wasting blandishments where there is not the probability of immediate profit; but once let even a puppy get a tenderhearted girl or aged couple under his influence, no pity will be shown the victims.
There is a house not a square away from Mr. Gerry’s philanthropic headquarters, where a state of things exists calculated to extract tears from a custom-house official. Two elderly virgins are there held in bondage by a Minotaur no bigger than your two fists. These good dames have a taste for travelling, but change of climate disagrees with their tyrant. They dislike house-keeping and, like good Americans, would prefer hotel life, nevertheless they keep up an establishment in a cheerless side street, with a retinue of servants, because, forsooth, their satrap exacts a back yard where he can walk of a morning. These spinsters, although loving sisters, no longer go about together, Caligula’s nerves being so shaken that solitude upsets them. He would sooner expire than be left alone with the servant, for the excellent reason that his bad temper and absurd airs have made him dangerous enemies below stairs—and he knows it!
Another household in this city revolves around two brainless, goggle-eyed beasts, imported at much expense from the slopes of Fuji-yama. The care that is lavished on those heathen monsters passes belief. Maids are employed to carry them up and down stairs, and men are called in the night to hurry for a doctor when Chi has over-eaten or Fu develops colic; yet their devoted mistress tells me, with tears in her eyes, that in spite of this care, when she takes her darlings for a walk they do not know her from the first stranger that passes, and will follow any boy who whistles to them in the street.
What revolts me in the character of dogs is that, not content with escaping from the responsibilities entailed on all the other inhabitants of our globe by the struggle for existence, these four-legged Pecksniffs have succeeded in making for themselves a fallacious reputation for honesty and devotion. What little lingering belief I had in canine fidelity succumbed then I was told that St. Bernards—those models of integrity and courage—have fallen into the habit of carrying the flasks of brandy that the kind monks provide for the succor of snowbound travellers, to the neighboring hamlets and exchanging the contents for—chops!
Will the world ever wake to the true character of these four-legged impostors and realize that instead of being disinterested and sincere, most family pets are consummate hypocrites. Innocent? Pshaw! Their pretty, coaxing ways and pretences of affection are unadulterated guile; their ostentatious devotion, simply a clever manœuvre to excite interest and obtain unmerited praise. It is useless, however, to hope that things will change. So long as this giddy old world goes on waltzing in space, so long shall we continue to be duped by shams and pin our faith on frauds, confounding an attractive bearing with a sweet disposition and mistaking dishevelled hair and eccentric appearance for brains. Even in the Orient, where dogs have been granted immunity from other labor on the condition that they organized an effective street-cleaning department, they have been false to their trust and have evaded their contracts quite as if they were Tammany braves, like whom they pass their days in slumber and their nights in settling private disputes, while the city remains uncleaned.
I nurse yet another grudge against the canine race! That Voltaire of a whelp, who imposed himself upon our confiding first parents, must have had an important pull at headquarters, for he certainly succeeded in getting the decree concerning beauty and fitness which applies to all mammals, including man himself, reversed in favor of dogs, and handed down to his descendants the secret of making defects and deformities pass current as qualities. While other animals are valued for sleek coats and slender proportions, canine monstrosities have always been in demand. We do not admire squints or protruding under jaws in our own race, yet bulldogs have persuaded many weak-minded people that these defects are charming when combined in an individual of their breed.
The fox in the fable, who after losing his tail tried to make that bereavement the fashion, failed in his undertaking; Dutch canal-boat dogs have, however, been successful where the fox failed, and are to-day pampered and prized for a curtailment that would condemn any other animal (except perhaps a Manx cat) to a watery grave at birth.
I can only recall two instances where canine sycophants got their deserts; the first tale (probably apocryphal) is about a donkey, for years the silent victim of a little terrier who had been trained to lead him to water and back. The dog—as might have been expected—abused the situation, while pretending to be very kind to his charge, never allowed him to roll on the grass, as he would have liked, or drink in peace, and harassed the poor beast in many other ways, getting, however, much credit from the neighbors for devotion and intelligence. Finally, one day after months of waiting, the patient victim’s chance came. Getting his tormentor well out into deep water, the donkey quietly sat down on him.
The other tale is true, for I knew the lady who provided in her will that her entire establishment should be kept up for the comfort and during the life of the three fat spaniels that had solaced her declining years. The heirs tried to break the will and failed; the delighted domestics, seeing before them a period of repose, proceeded (headed by the portly housekeeper) to consult a “vet” as to how the life of the precious legatees might be prolonged to the utmost. His advice was to stop all sweets and rich food and give each of the animals at least three hours of hard exercise a day. From that moment the lazy brutes led a dog’s life. Water and the detested “Spratt“ biscuit, scorned in happier days, formed their meagre ordinary; instead of somnolent airings in a softly cushioned landau they were torn from chimney corner musings to be raced through cold, muddy streets by a groom on horseback.
Those two tales give me the keenest pleasure. When I am received on entering a friend’s room with a chorus of yelps and attacked in dark corners by snarling little hypocrites who fawn on me in their master’s presence, I humbly pray that some such Nemesis may be in store for these faux bonhommes before they leave this world, as apparently no provision has been made for their punishment in the next.
CHAPTER 3—CYRANO, ROSTAND, COQUELIN
AMONG THE PROVERBS OF SPANISH folk-lore there is a saying that good wine retains its flavor in spite of rude bottles and cracked cups. The success of M. Rostand’s brilliant drama, Cyrano de Bergerac, in its English dress proves once more the truth of this adage. The fun and pathos, the wit and satire, of the original pierce through the halting, feeble translation like light through a ragged curtain, dazzling the spectators and setting their enthusiasm ablaze.
Those who love the theatre at its best, when it appeals to our finer instincts and moves us to healthy laughter and tears, owe a debt of gratitude to Richard Mansfield for his courage in giving us, as far as the difference of language and rhythm would allow, this chef d’œuvre unchanged, free from the mutilations of the adapter, with the author’s wishes and the stage decorations followed into the smallest detail. In this way we profit by the vast labor and study which Rostand and Coquelin gave to the original production.
Rumors of the success attained by this play in Paris soon floated across to us. The two or three French booksellers here could not import the piece fast enough to meet the ever increasing demand of our reading public. By the time spring came, there were few cultivated people who had not read the new work and discussed its original language and daring treatment.
On arriving in Paris, my first evening was passed at the Porte St. Martin. After the piece was over, I dropped into Coquelin’s dressing-room to shake this old acquaintance by the hand and give him news of his many friends in America.
Coquelin in his dressing-room is one of the most delightful of mortals. The effort of playing sets his blood in motion and his wit sparkling. He seemed as fresh and gay that evening as though there were not five killing acts behind him and the fatigue of a two-hundred-night run, uninterrupted even by Sundays, added to his “record.”
After the operation of removing his historic nose had been performed and the actor had resumed his own clothes and features, we got into his carriage and were driven to his apartment in the Place de l’Etoile, a cosy museum full of comfortable chairs and priceless bric-à-brac. The conversation naturally turned during supper on the piece and this new author who had sprung in a night from obscurity to a globe-embracing fame. How, I asked, did you come across the play, and what decided you to produce it?
Coquelin’s reply was so interesting that it will be better to repeat the actor’s own words as he told his tale over the dismantled table in the tranquil midnight hours.
“I had, like most Parisians, known Rostand for some time as the author of a few graceful verses and a play (Les Romanesques) which passed almost unnoticed at the Français.
“About four years ago Sarah Bernhardt asked me to her ‘hôtel’ to hear M. Rostand read a play he had just completed for her. I accepted reluctantly, as at that moment we were busy at the theatre. I also doubted if there could be much in the new play to interest me. It was La Princesse Lointaine. I shall remember that afternoon as long as I live! From the first line my attention was riveted and my senses were charmed. What struck me as even more remarkable than the piece was the masterly power and finish with which the boyish author delivered his lines. Where, I asked myself, had he learned that difficult art? The great actress, always quick to respond to the voice of art, accepted the play then and there.
“After the reading was over I walked home with M. Rostand, and had a long talk with him about his work and ambitions. When we parted at his door, I said: ‘In my opinion, you are destined to become the greatest dramatic poet of the age; I bind myself here and now to take any play you write (in which there is a part for me) without reading it, to cancel any engagements I may have on hand, and produce your piece with the least possible delay.’ An offer I don’t imagine many young poets have ever received, and which I certainly never before made to any author.
“About six weeks later my new acquaintance dropped in one morning to read me the sketch he had worked out for a drama, the title rôle of which he thought would please me. I was delighted with the idea, and told him to go ahead. A month later we met in the street. On asking him how the play was progressing, to my astonishment he answered that he had abandoned that idea and hit upon something entirely different. Chance had thrown in his way an old volume of Cyrano de Bergerac’s poems, which so delighted him that he had been reading up the life and death of that unfortunate poet. From this reading had sprung the idea of making Cyrano the central figure of a drama laid in the city of Richelieu, d’Artagnan, and the Précieuses Ridicules, a seventeenth-century Paris of love and duelling.
“At first this idea struck me as unfortunate. The elder Dumas had worked that vein so well and so completely, I doubted if any literary gold remained for another author. It seemed foolhardy to resuscitate the Three Guardsmen epoch—and I doubted if it were possible to carry out his idea and play an intense and pathetic rôle disguised with a burlesque nose.
“This contrasting of the grotesque and the sentimental was of course not new. Victor Hugo had broken away from classic tradition when he made a hunchback the hero of a drama. There remained, however, the risk of our Parisian public not accepting the new situation seriously. It seemed to me like bringing the sublime perilously near the ridiculous.
“Fortunately, Rostand did not share this opinion or my doubts. He was full of enthusiasm for his piece and confident of its success. We sat where we had met, under the trees of the Champs Elysées, for a couple of hours, turning the subject about and looking at the question from every point of view. Before we parted the poet had convinced me. The role, as he conceived it, was certainly original, and therefore tempting, opening vast possibilities before my dazzled eyes.
“I found out later that Rostand had gone straight home after that conversation and worked for nearly twenty hours without leaving the study, where his wife found him at daybreak, fast asleep with his head on a pile of manuscript. He was at my rooms the next day before I was up, sitting on the side of my bed, reading the result of his labor. As the story unfolded itself I was more and more delighted. His idea of resuscitating the quaint interior of the Hôtel de Bourgogne Theatre was original, and the balcony scene, even in outline, enchanting. After the reading Rostand dashed off as he had come, and for many weeks I saw no more of him.
“La Princesse Lointaine was, in the meantime, produced by Sarah, first in London and then in Paris. In the English capital it was a failure; with us it gained a succès d’estime, the fantastic grace and lightness of the piece saving it from absolute shipwreck in the eyes of the literary public.
“Between ourselves,” continued Coquelin, pushing aside his plate, a twinkle in his small eyes, “is the reason of this lack of success very difficult to discover? The Princess in the piece is supposed to be a fairy enchantress in her sixteenth year. The play turns on her youth and innocence. Now, honestly, is Sarah, even on the stage, any one’s ideal of youth and innocence?” This was asked so naïvely that I burst into a laugh, in which my host joined me. Unfortunately, this grandmamma, like Ellen Terry, cannot be made to understand that there are rôles she should leave alone, that with all the illusions the stage lends she can no longer play girlish parts with success.
“The failure of his play produced the most disastrous effect on Rostand, who had given up a year of his life to its composition and was profoundly chagrined by its fall. He sank into a mild melancholy, refusing for more than eighteen months to put pen to paper. On the rare occasions when we met I urged him to pull himself together and rise above disappointment. Little by little, his friends were able to awaken his dormant interest and get him to work again on Cyrano. As he slowly regained confidence and began taking pleasure once more in his work, the boyish author took to dropping in on me at impossible morning hours to read some scene hot from his ardent brain. When seated by my bedside, he declaimed his lines until, lit at his flame, I would jump out of bed, and wrapping my dressing-gown hastily around me, seize the manuscript out of his hands, and, before I knew it, find my self addressing imaginary audiences, poker in hand, in lieu of a sword, with any hat that came to hand doing duty for the plumed headgear of our hero. Little by little, line upon line, the masterpiece grew under his hands. My career as an actor has thrown me in with many forms of literary industry and dogged application, but the power of sustained effort and untiring, unflagging zeal possessed by that fragile youth surpassed anything I had seen.
“As the work began taking form, Rostand hired a place in the country, so that no visitors or invitations might tempt him away from his daily toil. Rich, young, handsome, married to a woman all Paris was admiring, with every door, social or Bohemian, wide open before his birth and talent, he voluntarily shut himself up for over a year in a dismal suburb, allowing no amusement to disturb his incessant toil. Mme. Rostand has since told me that at one time she seriously feared for his reason if not for his life, as he averaged ten hours a day steady work, and when the spell was on him would pass night after night at his study table, rewriting, cutting, modelling his play, never contented, always striving after a more expressive adjective, a more harmonious or original rhyme, casting aside a month’s finished work without a second thought when he judged that another form expressed his idea more perfectly.
“That no success is cheaply bought I have long known; my profession above all others is calculated to teach one that truth.
“If Rostand’s play is the best this century has produced, and our greatest critics are unanimous in pronouncing it equal, if not superior, to Victor Hugo’s masterpieces, the young author has not stolen his laurels, but gained them leaf by leaf during endless midnight hours of brain-wringing effort—a price that few in a generation would be willing to give or capable of giving for fame. The labor had been in proportion to the success; it always is! I doubt if there is one word in his ‘duel’ ballad that has not been changed again and again for a more fitting expression, as one might assort the shades of a mosaic until a harmonious whole is produced. I have there in my desk whole scenes that he discarded because they were not essential to the action of the piece. They will probably never be printed, yet are as brilliant and cost their author as much labor as any that the public applauded to-night.
“As our rehearsals proceeded I saw another side of Rostand’s character; the energy and endurance hidden in his almost effeminate frame astonished us all. He almost lived at the theatre, drilling each actor, designing each costume, ordering the setting of each scene. There was not a dress that he did not copy from some old print, or a passade that he did not indicate to the humblest member of the troop. The marvellous diction that I had noticed during the reading at Sarah’s served him now and gave the key to the entire performance. I have never seen him peevish or discouraged, but always courteous and cheerful through all those weary weeks of repetition, when even the most enthusiastic feel their courage oozing away under the awful grind of afternoon and evening rehearsal, the latter beginning at midnight after the regular performance was over.
“The news was somehow spread among the theatre-loving public that something out if the ordinary was in preparation. The papers took up the tale and repeated it until the whole capital was keyed up to concert pitch. The opening night was eagerly awaited by the critics, the literary and the artistic worlds. When the curtain rose on the first act there was the emotion of a great event floating in the air.” Here Coquelin’s face assumed an intense expression I had rarely seen there before. He was back on the stage, living over again the glorious hours of that night’s triumph. His breath was coming quick and his eyes aglow with the memory of that evening. “Never, never have I lived through such an evening. Victor Hugo’s greatest triumph, the first night of Hernani, was the only theatrical event that can compare to it. It, however, was injured by the enmity of a clique who persistently hissed the new play. There is but one phrase to express the enthusiasm at our first performance—une salle en délire gives some idea of what took place. As the curtain fell on each succeeding act the entire audience would rise to its feet, shouting and cheering for ten minutes at a time. The coulisse and the dressing-rooms were packed by the critics and the author’s friends, beside themselves with delight. I was trembling so I could hardly get from one costume into another, and had to refuse my door to every one. Amid all this confusion Rostand alone remained cool and seemed unconscious of his victory. He continued quietly giving last recommendations to the figurants, overseeing the setting of the scenes, and thanking the actors as they came off the stage, with the same self-possessed urbanity he had shown during the rehearsals. Finally, when the play was over, and we had time to turn and look for him, our author had disappeared, having quietly driven off with his wife to their house in the country, from which he never moved for a week.”
It struck two o’clock as Coquelin ended. The sleepless city had at last gone to rest. At our feet, as we stood by the open window, the great square around the Arc de Triomphe lay silent and empty, its vast arch rising dimly against the night sky.
As I turned to go, Coquelin took my hand and remarked, smiling: “Now you have heard the story of a genius, an actor, and a masterpiece.”
CHAPTER 4—MACHINE-MADE MEN
AMONG THE COMMONPLACE WHITE AND yellow envelopes that compose the bulk of one’s correspondence, appear from time to time dainty epistles on tinted paper, adorned with crests or monograms. “Ha! ha!” I think when one of these appears, “here is something worth opening!” For between ourselves, reader mine, old bachelors love to receive notes from women. It’s so flattering to be remembered by the dear creatures, and recalls the time when life was beginning, and poulets in feminine writing suggested such delightful possibilities.
Only this morning an envelope of delicate Nile green caused me a distinct thrill of anticipation. To judge by appearances it could contain nothing less attractive than a declaration, so, tearing it hurriedly open, I read: “Messrs. Sparks & Splithers take pleasure in calling attention to their patent suspenders and newest designs in reversible paper collars!”
Now, if that’s not enough to put any man in a bad humor for twenty-four hours, I should like to know what is? Moreover, I have “patents” in horror, experience having long ago revealed the fact that a patent is pretty sure to be only a new way of doing fast and cheaply something that formerly was accomplished slowly and well.
Few people stop to think how quickly this land of ours is degenerating into a paradise of the cheap and nasty, but allow themselves to be heated and cooled and whirled about the streets to the detriment of their nerves and digestions, under the impression that they are enjoying the benefits of modern progress.
So complex has life become in these later days that the very beds we lie on and the meals we eat are controlled by patents. Every garment and piece of furniture now pays a “royalty” to some inventor, from the hats on our heads to the carpets under foot, which latter are not only manufactured, but cleaned and shaken by machinery, and (be it remarked en passant) lose their nap prematurely in the process. To satisfy our national love of the new, an endless and nameless variety of trifles appears each season, so-called labor and time-saving combinations, that enjoy a brief hour of vogue, only to make way for a newer series of inventions.
As long as our geniuses confined themselves to making life one long and breathless scramble, it was bad enough, but a line should have been drawn where meddling with the sanctity of the toilet began. This, alas! was not done. Nothing has remained sacred to the inventor. In consequence, the average up-to-date American is a walking collection of Yankee notions, an ingenious illusion, made up of patents, requiring as nice adjustment to put together and undo as a thirteenth-century warrior, and carrying hardly less metal about his person than a Crusader of old.
There are a number of haberdashery shops on Broadway that have caused me to waste many precious minutes gazing into their windows and wondering what the strange instruments of steel and elastic could be, that were exhibited alongside of the socks and ties. The uses of these would, in all probability, have remained wrapped in mystery but for the experience of one fateful morning (after a night in a sleeping-car), when countless hidden things were made clear, as I sat, an awestruck witness to my fellow-passengers’—toilets?—No! Getting their machinery into running order for the day, would be a more correct expression.
