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The Project Gutenberg Etext of The Ways of Men by Eliot Gregory

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The Project Gutenberg Etext of The Ways of Men by Eliot Gregory
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***
THE WAYS OF MEN




Chapter 1 - "UNCLE SAM"


THE gentleman who graced the gubernatorial arm-chair 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 brick-yard 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), naively 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 manoeuvre 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'OEUVRE 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-a-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 Francais.

"About four years ago Sarah Bernhardt asked me to her `hotel'
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 role 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 PRECIEUSES 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 role 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 Elysees, 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 Hotel 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 SUCCES 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 naively 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 roles 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
DELIRE 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 awe-
struck witness to my fellow-passengers' - toilets? - No!
Getting their machinery into running order for the day, would
be a more correct expression.

Originally, "tags" were the backbone of the toilet, different
garments being held together by their aid.  Later, buttons and
attendant button-holes were evolved, now replaced by the
devices used in composing the machine-made man.  As far as I
could see (I have overcome a natural delicacy in making my
discoveries public, because it seems unfair to keep all this
information to myself), nothing so archaic as a button-hole is
employed at the present time by our patent-ridden compatriots.
The shirt, for instance, which was formerly such a simple-
minded and straightforward garment, knowing no guile, has
become, in the hands of the inventors, a mere pretence, a
frail scaffold, on which an elaborate superstructure of shams
is erected.

The varieties of this garment that one sees in the shop
windows, exposing virgin bosoms to the day, are not what they
seem!  Those very bosoms are fakes, and cannot open, being
instead pierced by eyelets, into which bogus studs are fixed
by machinery.  The owner is obliged to enter into those
deceptive garments surreptitiously from the rear, by
stratagem, as it were.  Why all this trouble, one asks, for no
apparent reason, except that old-fashioned shirts opened in
front, and no Yankee will wear a non-patented garment - if he
can help it?

There was not a single accessory to the toilet in that car
which behaved in a normal way.  Buttons mostly backed into
place, tail-end foremost (like horses getting between shafts),
where some hidden mechanism screwed or clinched them to their
moorings.

Collars and cuffs (integral parts of the primitive garment)
are now a labyrinth, in which all but the initiated must lose
themselves, being double-decked, detachable, reversible, and
made of every known substance except linen.  The cuff most in
favor can be worn four different ways, and is attached to the
shirt by a steel instrument three inches long, with a nipper
at each end.  The amount of white visible below the coat-
sleeve is regulated by another contrivance, mostly of elastic,
worn further up the arm, around the biceps.  Modern collars
are retained in position by a system of screws and levers.
Socks are attached no longer with the old-fashioned garter,
but by aid of a little harness similar to that worn by pug-
dogs.

One traveller, after lacing his shoes, adjusted a contrivance
resembling a black beetle on the knot to prevent its untying.
He also wore "hygienic suspenders," a discovery of great
importance (over three thousand patents have been taken out
for this one necessity of the toilet!).  This brace performs
several tasks at the same time, such as holding unmentionable
garments in place, keeping the wearer erect, and providing a
night-key guard.  It is also said to cure liver and kidney
disease by means of an arrangement of pulleys which throw the
strain according to the wearer's position - I omit the rest of
its qualities!

The watches of my companions, I noticed with astonishment, all
wore India-rubber ruffs around their necks.  Here curiosity
getting the better of discretion, I asked what purpose that
invention served.  It was graciously explained to me how such
ruffs prevented theft.  They were so made that it was
impossible to draw your watch out of a pocket unless you knew
the trick, which struck me as a mitigated blessing.  In fact,
the idea kept occurring that life might become terribly
uncomfortable under these complex conditions for absent-minded
people.

Pencils, I find, are no longer put into pockets or slipped
behind the ear.  Every commercial "gent" wears a patent on his
chest, where his pen and pencil nestle in a coil of wire.
Eyeglasses are not allowed to dangle aimlessly about, as of
old, but retire with a snap into an oval box, after the
fashion of roller shades.  Scarf-pins have guards screwed on
from behind, and undergarments - but here modesty stops my
pen.

Seeing that I was interested in their make-up, several
travelling agents on the train got out their boxes and showed
me the latest artifices that could be attached to the person.
One gentleman produced a collection of rings made to go on the
finger with a spring, like bracelets, an arrangement, he
explained, that was particularly convenient for people
afflicted with enlarged joints!

Another tempted me with what he called a "literary shirt
front," - it was in fact a paper pad, from which for
cleanliness a leaf could be peeled each morning; the "wrong"
side of the sheet thus removed contained a calendar, much
useful information, and the chapters of a "continued" story,
which ended when the "dickey" was used up.

A third traveller was "pushing" a collar-button that plied as
many trades as Figaro, combining the functions of cravat-
holder, stud, and scarf-pin.  Not being successful in selling
me one of these, he brought forward something "without which,"
he assured me, "no gentleman's wardrobe was complete"!  It
proved to be an insidious arrangement of gilt wire, which he
adjusted on his poor, overworked collar-button, and then tied
his cravat through and around it.  "No tie thus made," he
said, "would ever slip or get crooked."  He had been so civil
that it was embarrassing not to buy something of him; I
invested twenty-five cents in the cravat-holder, as it seemed
the least complicated of the patents on exhibition; not,
however, having graduated in a school of mechanics I have
never been able to make it work.  It takes an hour to tie a
cravat with its aid, and as long to get it untied.  Most of
the men in that car, I found, got around the difficulty by
wearing ready-made ties which fastened behind with a clasp.

It has been suggested that the reason our compatriots have
such a strained and anxious look is because they are all
trying to remember the numbers of their streets and houses,
the floor their office is on, and the combination of their
safes.  I am inclined to think that the hunted look we wear
comes from an awful fear of forgetting the secrets of our
patents and being unable to undo ourselves in an emergency!

Think for a moment of the horror of coming home tired and
sleepy after a convivial evening, and finding that some of
your hidden machinery had gone wrong; that by a sudden
movement you had disturbed the nice balance of some lever
which in revenge refused to release its prey!  The inventors
of one well-known cuff-holder claim that it had a "bull-dog
grip."  Think of sitting dressed all night in the embrace of
that mechanical canine until the inventor could be called in
to set you free!

I never doubted that bravery was the leading characteristic of
the American temperament; since that glimpse into the secret
composition of my compatriots, admiration has been vastly
increased.  The foolhardy daring it must require - dressed as
those men were - to go out in a thunder-storm makes one
shudder: it certainly could not be found in any other race.
The danger of cross-country hunting or bull-fighting is as
nothing compared to the risk a modern American takes when he
sits in a trolley-car, where the chances of his machinery
forming a fatal "short circuit" must be immense.  The utter
impossibility in which he finds himself of making a toilet
quickly on account of so many time-saving accessories must
increase his chances of getting "left" in an accident about
fifty per cent.  Who but one of our people could contemplate
with equanimity the thought of attempting the adjustment of
such delicate and difficult combinations while a steamer was
sinking and the life-boats being manned?

Our grandfathers contributed the wooden nutmeg to
civilization, and endowed a grateful universe with other
money-saving devices.  To-day the inventor takes the American
baby from his cradle and does not release him even at the
grave.  What a treat one of the machine-made men of to-day
will be to the archeologists of the year 3000, when they
chance upon a well-preserved specimen, with all his patents
thick upon I him!  With a prophetic eye one can almost see the
kindly old gentleman of that day studying the paraphernalia
found in the tomb and attempting to account for the different
pieces.  Ink will flow and discussions rage between the camp
maintaining that cuff-holders were tutelar deities buried with
the dead by pious relatives and the croup asserting that the
little pieces of steel were a form of pocket money in the year
1900.  Both will probably misquote Tennyson and Kipling in
support of their theories.

The question has often been raised, What side of our
nineteenth-century civilization will be most admired by future
generations?  In view of the above facts there can remain
little doubt that when the secrets of the paper collar and the
trouser-stretcher have become lost arts, it will be those
benefits that remote ages will envy us, and rare specimens of
"ventilated shoes" and "reversible tissue-paper undergarments"
will form the choicest treasures of the collector.




Chapter 5 - Parnassus


MANY years ago, a gentleman with whom I was driving in a
distant quarter of Paris took me to a house on the rue
Montparnasse, where we remained an hour or more, he chatting
with its owner, and I listening to their conversation, and
wondering at the confusion of books in the big room.  As we
drove away, my companion turned to me and said, "Don't forget
this afternoon.  You have seen one of the greatest writers our
century has produced, although the world does not yet realize
it.  You will learn to love his works when you are older, and
it will be a satisfaction to remember that you saw and spoke
with him in the flesh! "

When I returned later to Paris the little house had changed
hands, and a marble tablet stating that Sainte-Beuve had lived
and died there adorned its facade.  My student footsteps took
me many times through that quiet street, but never without a
vision of the poet-critic flashing back, as I glanced up at
the window where he had stood and talked with us; as my friend
predicted, Sainte-Beuve's writings had become a precious part
of my small library, the memory of his genial face adding a
vivid interest to their perusal.

I made a little Pilgrimage recently to the quiet old garden
where, after many years' delay, a bust of this writer has been
unveiled, with the same companion, now very old, who thirty
years ago presented me to the original.

There is, perhaps, in all Paris no more exquisite corner than
the Garden of the Luxembourg.  At every season it is
beautiful.  The winter sunlight seems to linger on its stately
Italian terraces after it has ceased to shine elsewhere.  The
first lilacs bloom here in the spring, and when midsummer has
turned all the rest of Paris into a blazing, white wilderness,
these gardens remain cool and tranquil in the heart of
turbulent "Bohemia," a bit of fragrant nature filled with the
song of birds and the voices of children.  Surely it was a
gracious inspiration that selected this shady park as the
"Poets' Corner" of great, new Paris.  Henri Murger, Leconte de
Lisle, Theodore de Banville, Paul Verlaine, are here, and now
Sainte-Beuve has come back to his favorite haunt.  Like
Francois Coppee and Victor Hugo, he loved these historic
ALLEES, and knew the stone in them as he knew the "Latin
Quater," for his life was passed between the bookstalls of the
quays and the outlying street where he lived.

As we sat resting in the shade, my companion, who had been one
of Sainte-Beuve's pupils, fell to talking of his master, his
memory refreshed by the familiar surroundings.  "Can anything
be sadder," he said, "than finding a face one has loved turned
into stone, or names that were the watch-words of one's youth
serving as signs at street corners - la rue Flaubert or
Theodore de Banville?  How far away they make the past seem!
Poor Sainte-Beuve, that bust yonder is but a poor reward for a
life of toil, a modest tribute to his encyclopaedic brain!
His works, however, are his best monument; he would be the
last to repine or cavil.

"The literary world of my day had two poles, between which it
vibrated.  The little house in the rue Montparnasse was one,
the rock of Guernsey the other.  We spoke with awe of `Father
Hugo' and mentioned `Uncle Beuve' with tenderness.  The
Goncourt brothers accepted Sainte-Beuve's judgment on their
work as the verdict of a `Supreme Court.'  Not a poet or
author of that day but climbed with a beating heart the narrow
staircase that led to the great writer's library.  Paul
Verlaine regarded as his literary diploma a letter from this
`Balzac de la critique.' "

"At the entrance of the quaint Passage du Commerce, under the
arch that leads into the rue Saint-Andre-des-Arts, stands a
hotel, where for years Sainte-Beuve came daily to work (away
from the importunate who besieged his dwelling) in a room
hired under the assumed name of Delorme.  It was there that we
sent him a basket of fruit one morning addressed to Mr.
Delorme, NE Sainte-Beuve.  It was there that most of his
enormous labor was accomplished.

"A curious corner of old Paris that Cour du Commerce!  Just
opposite his window was the apartment where Danton lived.  If
one chose to seek for them it would not be hard to discover on
the pavement of this same passage the marks made by a young
doctor in decapitating sheep with his newly invented machine.
The doctor's name was Guillotin.

"The great critic loved these old quarters filled with
history.  He was fond of explaining that Montparnasse had been
a hill where the students of the seventeenth and eighteenth
centuries came to amuse themselves.  In 1761 the slope was
levelled and the boulevard laid out, but the name was
predestined, he would declare, for the habitation of the
`Parnassiens.'

"His enemies pretended that you had but to mention Michelet,
Balzac, and Victor Hugo to see Sainte-Beuve in three degrees
of rage.  He had, it is true, distinct expressions on hearing
those authors discussed.  The phrase then much used in
speaking of an original personality, `He is like a character
out of Balzac,' always threw my master into a temper.  I
cannot remember, however, having seen him in one of those
famous rages which made Barbey d'Aurevilly say that `Sainte-
Beuve was a clever man with the temper of a turkey!'  The
former was much nearer the truth when he called the author of
LES LUNDIS a French Wordsworth, or compared him to a lay
BENEDICTIN.  He had a way of reading a newly acquired volume
as he walked through the streets that was typical of his life.
My master was always studying and always advancing.

"He never entirely recovered from his mortification at being
hissed by the students on the occasion of his first lecture at
the College de France.  Returning home he loaded two pistols,
one for the first student who should again insult him, and the
other to blow out his own brains.  It was no idle threat.  The
man Guizot had nicknamed `Werther' was capable of executing
his plan, for this causeless unpopularity was anguish to him.
After his death, I found those two pistols loaded in his
bedroom, but justice had been done another way.  All
opposition had vanished.  Every student in the `Quarter'
followed the modest funeral of their Senator, who had become
the champion of literary liberty in an epoch when poetry was
held in chains.

"The Empire which made him Senator gained, however, but an
indocile recruit.  On his one visit to Compiegne in 1863, the
Emperor, wishing to be particularly gracious, said to him, `I
always read the MONITEUR on Monday, when your article
appears.'  Unfortunately for this compliment, it was the
CONSTITUTIONNEL that had been publishing the NOUVEAUX LUNDIS
for more than four years.  In spite of the united efforts of
his friends, Sainte-Beuve could not be brought to the point of
complimenting Napoleon III. on his LIFE OF CAESAR.

The author of LES CONSOLATIONS remained through life the
proudest and most independent of men, a bourgeois, enemy of
all tyranny, asking protection of no one.  And what a worker!
Reading, sifting, studying, analyzing his subject before
composing one of his famous LUNDIS, a literary portrait which
he aimed at making complete and final.  One of these articles
cost him as much labor as other authors give to the
composition of a volume.

"By way of amusement on Sunday evenings, when work was
temporarily laid aside, he loved the theatre, delighting in
every kind of play, from the broad farces of the Palais Royal
to the tragedies of Racine, and entertaining comedians in
order, as he said, `to keep young'!  One evening Theophile
Gautier brought a pretty actress to dinner.  Sainte-Beuve, who
was past-master in the difficult art of conversation, and on
whom a fair woman acted as an inspiration, surpassed himself
on this occasion, surprising even the Goncourts with his
knowledge of the Eighteenth century and the women of that
time, Mme. de Boufflers, Mlle. de Lespinasse, la Marechale de
Luxembourg.  The hours flew by unheeded by all of his guests
but one.  The DEBUTANTE was overheard confiding, later in the
evening, to a friend at the Gymnase, where she performed in
the last act, `Ouf!  I'm glad to get here.  I`ve been dining
with a stupid old Senator.  They told me he would be amusing,
but I've been bored to death.'  Which reminded me of my one
visit to England, when I heard a young nobleman declare that
he had been to `such a dull dinner to meet a duffer called
"Renan!" '

"Sainte-Beuve's LARMES DE RACINE was given at the Theatre
Francais during its author's last illness.  His disappointment
at not seeing the performance was so keen that M. Thierry,
then ADMINISTRATEUR of La Comedie, took Mlle. Favart to the
rue Montparnasse, that she might recite his verses to the
dying writer.  When the actress, then in the zenith of her
fame and beauty, came to the lines-


Jean Racine, le grand poete,
Le poete aimant et pieux,
Apres que sa lyre muette
Se fut voilee a tous les yeux,
Renoncant a la gloire humaine,
S'il sentait en son ame pleine
Le flot contenu murmurer,
Ne savait que fondre en priere,
Pencher l'urne dans la poussiere
Aux pieds du Seigneur, et pleurer!


the tears of Sainte-Beuve accompanied those of Racine!"

There were tears also in the eyes my companion turned toward
me as he concluded.  The sun had set while he had been
speaking.  The marble of the statues gleamed white against the
shadows of the sombre old garden.  The guardians were closing
the gates and warning the lingering visitors as we strolled
toward the entrance.

It seemed as if we had been for an hour in the presence of the
portly critic; and the circle of brilliant men and witty women
who surrounded him - Flaubert, Tourgueneff, Theophile Gautier,
Renan, George Sand - were realities at that moment, not
abstractions with great names.  It was like returning from
another age, to step out again into the glare and bustle of
the Boulevard St. Michel.




Chapter 6 - Modern Architecture


IF a foreign tourist, ignorant of his whereabouts, were to
sail about sunset up our spacious bay and view for the first
time the eccentric sky-line of lower New York, he would rub
his eyes and wonder if they were not playing him a trick, for
distance and twilight lend the chaotic masses around the
Battery a certain wild grace suggestive of Titan strongholds
or prehistoric abodes of Wotan, rather than the business part
of a practical modern city.

"But," as John Drew used to say in THE MASKED BALL, "what a
difference in the morning!" when a visit to his banker takes
the new arrival down to Wall Street, and our uncompromising
American daylight dispels his illusions.

Years ago SPIRITUAL Arthur Gilman mourned over the decay of
architecture in New York and pointed out that Stewart's shop,
at Tenth Street, bore about the same relation to Ictinus'
noble art as an iron cooking stove!  It is well death removed
the Boston critic before our city entered into its present
Brobdingnagian phase.  If he considered that Stewart's and the
Fifth Avenue Hotel failed in artistic beauty, what would have
been his opinion of the graceless piles that crowd our island
to-day, beside which those older buildings seem almost
classical in their simplicity?

One hardly dares to think what impression a student familiar
with the symmetry of Old World structures must receive on
arriving for the first time, let us say, at the Bowling Green,
for the truth would then dawn upon him that what appeared from
a distance to be the ground level of the island was in reality
the roof line of average four-story buildings, from among
which the keeps and campaniles that had so pleased him (when
viewed from the Narrows) rise like gigantic weeds gone to seed
in a field of grass.

It is the heterogeneous character of the buildings down town
that renders our streets so hideous.  Far from seeking
harmony, builders seem to be trying to "go" each other "one
story better"; if they can belittle a neighbor in the process
it is clear gain, and so much advertisement.  Certain blocks
on lower Broadway are gems in this way!  Any one who has
glanced at an auctioneer's shelves when a "job lot" of books
is being sold, will doubtless have noticed their resemblance
to the sidewalks of our down town streets.  Dainty little
duodecimo buildings are squeezed in between towering in-
folios, and richly bound and tooled octavos chum with cheap
editions.  Our careless City Fathers have not even given
themselves the trouble of pushing their stone and brick
volumes into the same line, but allow them to straggle along
the shelf - I beg pardon, the sidewalk - according to their
own sweet will.

The resemblance of most new business buildings to flashy books
increases the more one studies them; they have the proportions
of school atlases, and, like them, are adorned only on their
backs (read fronts).  The modern builder, like the frugal
binder, leaves the sides of his creations unadorned, and
expends his ingenuity in decorating the narrow strip which he
naively imagines will be the only part seen, calmly ignoring
the fact that on glancing up or down a street the sides of
houses are what we see first.  It is almost impossible to get
mathematically opposite a building, yet that is the only point
from which these new constructions are not grotesque.

It seems as though the rudiments of common sense would suggest
that under existing circumstances the less decoration put on a
facade the greater would be the harmony of the whole.  But
trifles like harmony and fitness are splendidly ignored by the
architects of to-day, who, be it remarked in passing, have
slipped into another curious habit for which I should greatly
like to see an explanation offered.  As long as the ground
floors and the tops of their creations are elaborate, the
designer evidently thinks the intervening twelve or fifteen
stories can shift for themselves.  One clumsy mass on the
Bowling Green is an excellent example of this weakness.  Its
ground floor is a playful reproduction of the tombs of Egypt.
About the second story the architect must have become
discouraged - or perhaps the owner's funds gave out - for the
next dozen floors are treated in the severest "tenement house"
manner; then, as his building terminates well up in the sky, a
top floor or two are, for no apparent reason, elaborately
adorned.  Indeed, this desire for a brilliant finish pervades
the neighborhood.  The Johnson Building on Broad Street (to
choose one out of the many) is sober and discreet in design
for a dozen stories, but bursts at its top into a Byzantine
colonnade.  Why? one asks in wonder.

Another new-comer, corner of Wall and Nassau Streets, is a
commonplace structure, with a fairly good cornice, on top of
which - an afterthought, probably - a miniature State Capitol
has been added, with dome and colonnade complete.  The result
recalls dear, absent-minded Miss Matty (in Mrs. Gaskell's
charming story), when she put her best cap on top of an old
one and sat smiling at her visitors from under the double
headdress!

Nowhere in the world - not even in Moscow, that city of domes
- can one see such a collection of pagodas, cupolas, kiosks,
and turrets as grace the roofs of our office buildings!
Architects evidently look upon such adornments as
compensations!  The more hideous the structure, the finer its
dome!  Having perpetrated a blot upon the city that cries to
heaven in its enormity, the repentant owner adds a pagoda or
two, much in the same spirit, doubtless, as prompts an Italian
peasant to hang a votive heart on some friendly shrine when a
crime lies heavy on his conscience.

What would be thought of a book-collector who took to standing
inkstands or pepperboxes on the tops of his tallest volumes by
way of adornment?  Yet domes on business buildings are every
bit as appropriate.  A choice collection of those
monstrosities graces Park Row, one much-gilded offender
varying the monotony by looking like a yellow stopper in a
high-shouldered bottle!  How modern architects with the
exquisite City Hall before them could have wandered so far
afield in their search for the original must always remain a
mystery.

When a tall, thin building happens to stand on a corner, the
likeness to an atlas is replaced by a grotesque resemblance to
a waffle iron, of which one structure just finished on Rector
Street skilfully reproduces' the lines.  The rows of little
windows were evidently arranged to imitate the indentations on
that humble utensil, and the elevated road at the back seems
in this case to do duty as the handle.  Mrs. Van Rensselaer
tells us in her delightful GOEDE VROUW OF MANA-HA-TA that
waffle irons used to be a favorite wedding present among the
Dutch settlers of this island, and were adorned with monograms
and other devices, so perhaps it is atavism that makes us so
fond of this form in building!  As, however, no careful
HAUSFRAU would have stood her iron on its edge, architects
should hesitate before placing their buildings in that
position, as the impression of instability is the same in each
case.

After leaving the vicinity of the City Hall, the tall slabs
that like magnified milestones mark the progress of
Architecture up Broadway become a shade less objectionable,
although one meets some strange freaks in so-called decoration
by the way.  Why, for instance, were those Titan columns
grouped around the entrance to the American Surety Company's
building?  They do not support anything (the "business" of
columns in architecture) except some rather feeble statuary,
and do seriously block the entrance.  Were they added with the
idea of fitness?  That can hardly be, for a portico is as
inappropriate to such a building as it would be to a parlor
car, and almost as inconvenient.

Farther up town our attention is arrested by another misplaced
adornment.  What purpose can that tomb with a railing round it
serve on top of the New York Life Insurance building?  It
looks like a monument in Greenwood, surmounted by a rat-trap,
but no one is interred there, and vermin can hardly be
troublesome at that altitude.

How did this craze for decoration originate?  The inhabitants
of Florence and Athens did not consider it necessary.  There
must, I feel sure, be a reason for its use in this city;
American land-lords rarely spend money without a purpose;
perhaps they find that rococo detail draws business and
inspires confidence!

I should like to ask the architects of New York one question:
Have they not been taught that in their art, as in every
other, pretences are vulgar, that things should be what they
seem?  Then why do they continue to hide steel and fire-brick
cages under a veneer of granite six inches thick, causing them
to pose as solid stone buildings?  If there is a demand for
tall, light structures, why not build them simply (as bridges
are constructed), and not add a poultice of bogus columns and
zinc cornices that serve no purpose and deceive no one?

Union Square possesses blocks out of which the Jackson and
Decker buildings spring with a noble disregard of all rules
and a delicious incongruity that reminds one of Falstaff's
corps of ill-drilled soldiers.  Madison Square, however, is
FACILE PRINCEPS, with its annex to the Hoffman House, a
building which would make the fortune of any dime museum that
could fence it in and show it for a fee!  Long contemplation
of this structure from my study window has printed every comic
detail on my brain.  It starts off at the ground level to be
an imitation of the Doge's Palace (a neat and appropriate idea
in itself for a Broadway shop).  At the second story,
following the usual New York method, it reverts to a design
suggestive of a county jail (the Palace and the Prison), with
here and there a balcony hung out, emblematical, doubtless, of
the inmates' wash and bedding.  At the ninth floor the
repentant architect adds two more stories in memory of the
Doge's residence.  Have you ever seen an accordion
(concertina, I believe, is the correct name) hanging in a shop
window?  The Twenty-fifth Street Doge's Palace reminds me of
that humble instrument.  The wooden part, where the keys and
round holes are, stands on the sidewalk.  Then come an
indefinite number of pleats, and finally the other wooden end
well up among the clouds.  So striking is this resemblance
that at times one expects to hear the long-drawn moans
peculiar to the concertina issuing from those portals.  Alas!
even the most original designs have their drawbacks!  After
the proprietor of the Venetian accordion had got his
instrument well drawn out and balanced on its end, he
perceived that it dwarfed the adjacent buildings, so cast
about in his mind for a scheme to add height and dignity to
the rest of the block.  One day the astonished neighborhood
saw what appeared to be a "roomy suburban villa" of iron
rising on the roof of the old Hoffman House.  The results
suggests a small man who, being obliged to walk with a giant,
had put on a hat several times too large in order to equalize
their heights!

How astonished Pericles and his circle of architects and
sculptors would be could they stand on the corner of Broadway
and Twenty-eighth Street and see the miniature Parthenon that
graces the roof of a pile innocent of other Greek ornament?
They would also recognize their old friends, the ladies of the
Erechtheum, doing duty on the Reveillon Building across the
way, pretending to hold up a cornice, which, being in
proportion to the building, is several hundred times too big
for them to carry.  They can't be seen from the sidewalk, -
the street is too narrow for that, - but such trifles don't
deter builders from decorating when the fit is on them.
Perhaps this one got his caryatides at a bargain, and had to
work them in somewhere; so it is not fair to be hard on him.

If ever we take to ballooning, all these elaborate tops may
add materially to our pleasure.  At the present moment the
birds, and angels, it is to be hoped, appreciate the effort.
I, perhaps, of all the inhabitants of the city, have seen
those ladies face to face, when I have gone on a semi-monthly
visit to my roof to look for leaks!

"It's all very well to carp and cavil," many readers will say,
"but `Idler' forgets that our modern architects have had to
contend with difficulties that the designers of other ages
never faced, demands for space and light forcing the
nineteenth-century builders to produce structures which they
know are neither graceful nor in proportion!"

If my readers will give themselves the trouble to glance at
several office buildings in the city, they will realize that
the problem is not without a solution.  In almost every case
where the architect has refrained from useless decoration and
stuck to simple lines, the result, if not beautiful, has at
least been inoffensive.  It is where inappropriate elaboration
is added that taste is offended.  Such structures as the
Singer building, corner of Liberty Street and Broadway, and
the home of LIFE, in Thirty-first Street, prove that beauty
and grace of facade can be adapted to modern business wants.

Feeling as many New Yorkers do about this defacing of what
might have been the most beautiful of modern cities, it is
galling to be called upon to admire where it is already an
effort to tolerate.

A sprightly gentleman, writing recently in a scientific
weekly, goes into ecstasies of admiration over the advantages
and beauty of a steel mastodon on Park Row, a building that
has the proportions of a carpenter's plane stood on end,
decorated here and there with balconies and a colonnade
perched on brackets up toward its fifteenth story.  He
complacently gives us its weight and height as compared with
the pyramids, and numerous other details as to floor space and
ventilation, and hints in conclusion that only old fogies and
dullards, unable to keep pace with the times, fail to
appreciate the charm of such structures in a city.  One of the
"points" this writer makes is the quality of air enjoyed by
tenants, amusingly oblivious of the fact that at least three
facades of each tall building will see the day only so long as
the proprietors of adjacent land are too poor or too busy to
construct similar colossi!

When all the buildings in a block are the same height, seven
eighths of the rooms in each will be without light or
ventilation.  It's rather poor taste to brag of advantages
that are enjoyed only through the generosity of one's
neighbors.

Business demands may force us to bow before the necessity of
these horrors, but it certainly is "rubbing it in" to ask our
applause.  When the Eiffel Tower was in course of
construction, the artists and literary lights of Paris raised
a tempest of protest.  One wonders why so little of the kind
has been done here.  It is perhaps rather late in the day to
suggest reform, yet if more New Yorkers would interest
themselves in the work, much might still be done to modify and
improve our metropolis.

One hears with satisfaction that a group of architects have
lately met and discussed plans for the embellishment of our
neglected city.  There is a certain poetical justice in the
proposition coming from those who have worked so much of the
harm.  Remorse has before now been known to produce good
results.  The United States treasury yearly receives large
sums of "conscience money."




Chapter 7 - Worldly Color-Blindness


MYRIADS of people have no ear for music and derive but little
pleasure from sweet sounds.  Strange as it may appear, many
gifted and sensitive mortals have been unable to distinguish
one note from another, Apollo's harmonious art remaining for
them, as for the elder Dumas, only an "expensive noise."

Another large class find it impossible to discriminate between
colors.  Men afflicted in this way have even become painters
of reputation.  I knew one of the latter, who, when a friend
complimented him on having caught the exact shade of a pink
toilet in one of his portraits, answered, "Does that dress
look pink to you?  I thought it was green!" and yet he had
copied what he saw correctly.

Both these classes are to be pitied, but are not the cause of
much suffering to others.  It is annoying, I grant you, to be
torn asunder in a collision, because red and green lights on
the switches combined into a pleasing harmony before the
brakeman's eyes.  The tone-deaf gentleman who insists on
whistling a popular melody is almost as trying as the lady
suffering from the same weakness, who shouts, "Ninon, Ninon,
que fais-tu de la vie!" until you feel impelled to cry, "Que
faites-vous, madame, with the key?"

Examinations now keep daltonic gentlemen out of locomotives,
and ladies who have lost their "keys" are apt to find their
friends' pianos closed.  What we cannot guard against is a
variety of the genus HOMO which suffers from "social color-
blindness."  These well-meaning mortals form one of the
hardest trials that society is heir to; for the disease is
incurable, and as it is almost impossible to escape from them,
they continue to spread dismay and confusion along their path
to the bitter end.

This malady, which, as far as I know, has not been diagnosed,
invades all circles, and is, curiously enough, rampant among
well-born and apparently well-bred people.

Why is it that the entertainments at certain houses are always
dull failures, while across the way one enjoys such agreeable
evenings?  Both hosts are gentlemen, enjoying about the same
amount of "unearned increment," yet the atmosphere of their
houses is radically different.  This contrast cannot be traced
to the dulness or brilliancy of the entertainer and his wife.
Neither can it be laid at the door of inexperience, for the
worst offenders are often old hands at the game.

The only explanation possible is that the owners of houses
where one is bored are socially color-blind, as cheerfully
unconscious of their weakness as the keyless lady and the
whistling abomination.

Since increasing wealth has made entertaining general and
lavish, this malady has become more and more apparent, until
one is tempted to parody Mme. Roland's dying exclamation and
cry, "Hospitality! hospitility! what crimes are committed in
thy name!"

Entertaining is for many people but an excuse for ostentation.
For others it is a means to an end; while a third variety
apparently keep a debit and credit account with their
acquaintances - in books of double entry, so that no errors
may occur - and issue invitations like receipts, only in
return for value received.

We can rarely tell what is passing in the minds of people
about us.  Some of those mentioned above may feel a vague
pleasure when their rooms are filled with a chattering crowd
of more or less well-assorted guests; if that is denied them,
can find consolation for the outlay in an indefinite sensation
of having performed a duty, - what duty, or to whom, they
would, however, find it difficult to define.

Let the novice flee from the allurements of such a host.  Old
hands know him and have got him on their list, escaping when
escape is possible; for he will mate the green youth with the
red frump, or like a premature millennium force the lion and
the lamb to lie down together, and imagine he has given
unmixed pleasure to both.

One would expect that great worldly lights might learn by
experience how fatal bungled entertainments can be, but such
is not the case.  Many well-intentioned people continue
sacrificing their friends on the altar of hospitality year
after year with never a qualm of conscience or a sensation of
pity for their victims.  One practical lady of my acquaintance
asks her guests alphabetically, commencing the season and the
first leaf of her visiting list simultaneously and working
steadily on through both to "finis."  If you are an A, you
will meet only A's at her table, with perhaps one or two B's
thrown in to fill up; you may sit next to your mother-in-law
for all the hostess cares.  She has probably never heard that
the number of guests at table should not exceed that of the
muses; or if by any chance she has heard it, does not care,
and considers such a rule old-fashioned and not appropriate to
our improved modern methods of entertaining.

One wonders what possible satisfaction a host can derive from
providing fifty people with unwholesome food and drink at a
fixed date.  It is a physical impossibility for him to have
more than a passing word with his guests, and ten to one the
unaccustomed number has upset the internal arrangements of his
household, so that the dinner will, in consequence, be poor
and the service defective.

A side-light on this question came to me recently when an
exceedingly frank husband confided to a circle of his friends
at the club the scheme his wife, who, though on pleasure bent,
was of a frugal mind, had adopted to balance her social
ledger.

"As we dine out constantly through the year," remarked
Benedict, "some return is necessary.  So we wait until the
height of the winter season, when everybody is engaged two
weeks in advance, then send out our invitations at rather
short notice for two or three consecutive dinners.  You'd be
surprised," he remarked, with a beaming smile, "what a number
refuse; last winter we cancelled all our obligations with two
dinners, the flowers and entrees being as fresh on the second
evening as the first!  It's wonderful!" he remarked in
conclusion, "how simple entertaining becomes when one knows
how!"  Which reminded me of an ingenious youth I once heard
telling some friends how easy he had found it to write the
book he had just published.  After his departure we agreed
that if he found it so easy it would not be worth our while to
read his volume.

Tender-hearted people generally make bad hosts.  They have a
way of collecting the morally lame, halt, and blind into their
drawing-rooms that gives those apartments the air of a
convalescent home.  The moment a couple have placed themselves
beyond the social pale, these purblind hosts conceive an
affection for and lavish hospitality upon them.  If such a
host has been fortunate enough to get together a circle of
healthy people, you may feel confident that at the last moment
a leper will be introduced.  This class of entertainers fail
to see that society cannot he run on a philanthropic basis,
and so insist on turning their salons into hospitals.

It would take too long to enumerate the thousand
idiosyncrasies of the color-blind; few, however, are more
amusing than those of the impulsive gentlemen who invite
people to their homes indiscriminately, because they happen to
feel in a good humor or chance to be seated next them at
another house, - invitations which the host regrets half an
hour later, and would willingly recall.  "I can't think why I
asked the So-and-sos!" he will confide to you.  " I can't
abide them; they are as dull as the dropsy!"  Many years ago
in Paris, we used to call a certain hospitable lady's
invitations "soup tickets," so little individuality did they
possess.

The subtle laws of moral precedence are difficult reading for
the most intelligent, and therefore remain sealed books to the
afflicted mortals mentioned here.  The delicate tact that,
with no apparent effort, combines congenial elements into a
delightful whole is lacking in their composition.  The nice
discrimination that presides over some households is replaced
by a jovial indifference to other persons' feelings and
prejudices.

The idea of placing pretty Miss Debutante next young
Strongboys instead of giving her over into the clutches of old
Mr. Boremore will never enter these obtuse entertainers'
heads, any more than that of trying to keep poor, defenceless
Mrs. Mouse out of young Tom Cat's claws.

It is useless to enumerate instances; people have suffered too
severely at the hands of careless and incompetent hosts not to
know pretty well what the title of this paper means.  So many
of us have come away from fruitless evenings, grinding our
teeth, and vowing never to enter those doors again while life
lasts, that the time seems ripe for a protest.

If the color-blind would only refrain from painting, and the
tone-deaf not insist on inviting one to their concerts, the
world would be a much more agreeable place.  If people would
only learn what they can and what they can't do, and leave the
latter feats alone, a vast amount of unnecessary annoyance
would be avoided and the tiresome old grindstone turn to a
more cheerful tune.




Chapter 8 - Idling in Mid-Ocean


TO those fortunate mortals from whom Poseidon exacts no
tribute in crossing his broad domain, a transatlantic voyage
must afford each year an ever new delight.  The cares and
worries of existence fade away and disappear in company with
the land, in the deep bosom of the ocean buried.  One no
longer feels like the bored mortal who has all winter turned
the millstone of work and pleasure, but seems to have
transmigrated into a new body, endowed with a ravenous
appetite and perfectly fresh sensations.

Perhaps it is only the novelty of the surroundings; but as I
lie somnolent in my chair, tucked into a corner of the white
deck, watching the jade-colored water rush past below, and the
sea-gulls circle gayly overhead, the SUMMUM BONUM of earthly
contentment seems attained.  The book chosen with care remains
uncut; the sense of physical and mental rest is too exquisite
to be broken by any effort, even the reading of a favorite
author.

Drowsy lapses into unconsciousness obscure the senses, like
the transparent clouds that from time to time dim the
sunlight.  A distant bell in the wheel-house chimes the lazy
half-hours.  Groups of people come and go like figures on a
lantern-slide.  A curiously detached reeling makes the scene
and the actors in it as unreal as a painted ship manned by a
shadowy crew.  The inevitable child tumbles on its face and is
picked up shrieking by tender parents; energetic youths
organize games of skill or discover whales on the horizon,
without disturbing one's philosophic calm.

I congratulate myself on having chosen a foreign line.  For a
week at least no familiar name will be spoken, no accustomed
face appear.  The galling harness of routine is loosened; one
breathes freely again conscious of the unoccupied hours in
perspective.

The welcome summons to luncheon comes as a pleasant shock.  Is
it possible that the morning has passed?  It seems to have but
commenced.  I rouse myself and descend to the cabin.  Toward
the end of the meal a rubicund Frenchman opposite makes the
startling proposition that if I wish to send a message home he
will undertake to have it delivered.  It is not until I notice
the little square of oiled paper he is holding out to me that
I understand this reference to the "pigeon post" with which
the Compagnie Transatlantique is experimenting.  At the
invitation of this new acquaintance I ascend to the upper deck
and watch his birds depart.

The tiny bits of paper on which we have written (post-card
fashion) message and address are rolled two or three together,
and inserted into a piece of quill less than two inches long,
which, however, they do not entirely fill.  While a pigeon is
held by one man, another pushes one of the bird's tail-
feathers well through the quill, which is then fastened in its
place by two minute wooden wedges.  A moment later the pigeon
is tossed up into the air, and we witness the working of that
mysterious instinct which all our modern science leaves
unexplained.  After a turn or two far up in the clear sky, the
bird gets its bearings and darts off on its five-hundred-mile
journey across unknown seas to an unseen land - a voyage that
no deviation or loitering will lengthen, and only fatigue or
accident interrupt, until he alights at his cote.

Five of these willing messengers were started the first day
out, and five more will leave to-morrow, poor little aerial
postmen, almost predestined to destruction (in the latter
case), for we shall then be so far from land that their one
chance of life and home must depend on finding some friendly
mast where an hour's rest may be taken before the bird starts
again on his journey.

In two or three days, according to the weather, we shall begin
sending French pigeons on ahead of us toward Havre.  The
gentleman in charge of them tells me that his wife received
all the messages he sent to her during his westward trip, the
birds appearing each morning at her window (where she was in
the habit feeding them) with their tidings from mid-ocean.  He
also tells me that the French fleet in the Mediterranean
recently received messages from their comrades in the Baltic
on the third day by these feathered envoys.

It is hoped that in future ocean steamers will be able to keep
up communication with the land at least four out of the seven
days of their trips, so that, in case of delay or accident,
their exact position and circumstances can be made known at
headquarters.  It is a pity, the originator of the scheme
remarked, that sea-gulls are such hopeless vagabonds, for they
can fly much greater distances than pigeons, and are not
affected by dampness, which seriously cripples the present
messengers.

Later in the day a compatriot, inspired doubtless by the
morning's experiment, confided to me that he had hit on "a
great scheme," which he intends to develop on arriving.  His
idea is to domesticate families of porpoises at Havre and New
York, as that fish passes for having (like the pigeon) the
homing instinct.  Ships provided with the parent fish can free
one every twenty-four hours, charged with the morning's mail.
The inventor of this luminous idea has already designed the
letter-boxes that are to be strapped on the fishes' backs, and
decided on a neat uniform for his postmen.

It is amusing during the first days "out" to watch the people
whom chance has thrown together into such close quarters.  The
occult power that impels a pigeon to seek its kind is feeble
in comparison with the faculty that travellers develop under
these circumstances for seeking out congenial spirits.  Twelve
hours do not pass before affinities draw together; what was
apparently a homogeneous mass has by that time grouped and
arranged itself into three or four distinct circles.

The "sporty" gentlemen in loud clothes have united in the
bonds of friendship with the travelling agents and have chosen
the smoking-room as their headquarters.  No mellow sunset or
serene moonlight will tempt these comrades from the subtleties
of poker; the pool on the run is the event of their day.

A portly prima donna is the centre of another circle.  Her
wraps, her dogs, her admirers, and her brand-new husband (a
handsome young Hungarian with a voice like two Bacian bulls)
fill the sitting-room, where the piano gets but little rest.
Neither sunshine nor soft winds can draw them to the deck.
Although too ill for the regular meals, this group eat and
drink during fifteen out of the twenty-four hours.

The deck, however, is not deserted; two fashionable
dressmakers revel there.  These sociable ladies asked the
COMMISSAIRE at the start "to introduce all the young unmarried
men to them," as they wanted to be jolly.  They have a
numerous court around them, and champagne, like the
conversation, flows freely.  These ladies have already become
expert at shuffleboard, but their "sea legs" are not so good
as might be expected, and the dames require to be caught and
supported by their admirers at each moment to prevent them
from tripping - an immense joke, to judge by the peals of
laughter that follow.

The American wife of a French ambassador sits on the captain's
right.  A turn of the diplomatic wheel is taking the lady to
Madrid, where her position will call for supreme tact and
self-restraint.  One feels a thrill of national pride on
looking at her high-bred young face and listening as she chats
in French and Spanish, and wonders once more at the marvellous
faculty our women have of adapting themselves so graciously
and so naturally to difficult positions, which the women of
other nations rarely fill well unless born to the purple.  It
is the high opinion I have of my countrywomen that has made me
cavil, before now, on seeing them turned into elaborately
dressed nullities by foolish and too adoring husbands.

The voyage is wearing itself away.  Sunny days are succeeded
by gray mornings, as exquisite in their way, when one can feel
the ship fight against contending wind and wave, and shiver
under the blows received in a struggle which dashes the salt
spray high over the decks.  There is an aroma in the air then
that breathes new life into jaded nerves, and stirs the drop
of old Norse blood, dormant in most American veins, into
quivering ecstasy.  One dreams of throwing off the trammels of
civilized existence and returning to the free life of older
days.

But here is Havre glittering in the distance against her
background of chalk cliffs.  People come on deck in strangely
conventional clothes and with demure citified airs.
Passengers of whose existence you were unaware suddenly make
their appearance.  Two friends meet near me for the first
time.  "Hallo, Jones!" says one of them, "are you crossing?"

"Yes," answers Jones, "are you?"

The company's tug has come alongside by this time, bringing
its budget of letters and telegrams.  The brief holiday is
over.  With a sigh one comes back to the positive and the
present, and patiently resumes the harness of life.




Chapter 9 - "Climbers" in England


THE expression "Little Englander," much used of late to
designate an inhabitant of the Mother Isle in contra-
distinction to other subjects of Her Majesty, expresses neatly
the feeling of our insular cousins not only as regards
ourselves, but also the position affected toward their
colonial brothers and sisters.

Have you ever noticed that in every circle there is some
individual assuming to do things better than his comrades - to
know more, dress better, run faster, pronounce more correctly?
Who, unless promptly suppressed, will turn the conversation
into a monologue relating to his own exploits and opinions.
To differ is to bring down his contempt upon your devoted
head!  To argue is time wasted!

Human nature is, however, so constituted that a man of this
type mostly succeeds in hypnotizing his hearers into sharing
his estimate of himself, and impressing upon them the
conviction that he is a rare being instead of a commonplace
mortal.  He is not a bad sort of person at bottom, and ready
to do one a friendly turn - if it does not entail too great
inconvenience.  In short, a good fellow, whose principal
defect is the profound conviction that he was born superior to
the rest of mankind.

What this individual is to his environment, Englishmen are to
the world at large.  It is the misfortune, not the fault, of
the rest of the human race, that they are not native to his
island; a fact, by the way, which outsiders are rarely allowed
to lose sight of, as it entails a becoming modesty on their
part.

Few idiosyncrasies get more quickly on American nerves or are
further from our hearty attitude toward strangers.  As we are
far from looking upon wandering Englishmen with suspicion, it
takes us some time to realize that Americans who cut away from
their countrymen and settle far from home are regarded with
distrust and reluctantly received.  When a family of this kind
prepares to live in their neighborhood, Britons have a formula
of three questions they ask themselves concerning the new-
comers: "Whom do they know?  How much are they worth?" and
"What amusement (or profit) are we likely to get out of them?"
If the answer to all or any of the three queries is
satisfactory, my lord makes the necessary advances and becomes
an agreeable, if not a witty or original, companion.

Given this and a number of other peculiarities, it seems
curious that a certain class of Americans should be so anxious
to live in England.  What is it tempts them?  It cannot be the
climate, for that is vile; nor the city of London, for it is
one of the ugliest in existence; nor their "cuisine" - for
although we are not good cooks ourselves, we know what good
food is and could give Britons points.  Neither can it be art,
nor the opera, - one finds both better at home or on the
Continent than in England.  So it must be society, and here
one's wonder deepens!

When I hear friends just back from a stay over there enlarging
on the charms of "country life," or a London "season," I look
attentively to see if they are in earnest, so incomparably
dull have I always found English house parties or town
entertainments.  At least that side of society which the
climbing stranger mostly affects.  Other circles are charming,
if a bit slow, and the "Bohemia" and semi-Bohemia of London
have a delicate flavor of their own.

County society, that ideal life so attractive to American
readers of British novels, is, taken on the whole, the most
insipid existence conceivable.  The women lack the sparkle and
charm of ours; the men, who are out all day shooting or
hunting according to the season, get back so fagged that if
they do not actually drop asleep at the dinner-table, they
will nap immediately after, brightening only when the ladies
have retired, when, with evening dress changed for comfortable
smoking suits, the hunters congregate in the billiard-room for
cigars and brandy and seltzer.

A particularly agreeable American woman, whose husband insists
on going every winter to Melton-Mowbray for the hunting, was
describing the other day the life there among the women, and
expressing her wonder that those who did not hunt could
refrain from blowing out their brains, so awful was the
dulness and monotony!  She had ended by not dining out at all,
having discovered that the conversation never by any chance
deviated far from the knees of the horses and the height of
the hedges!

Which reminds one of Thackeray relating how he had longed to
know what women talked about when they were alone after
dinner, imagining it to be on mysterious and thrilling
subjects, until one evening he overheard such a conversation
and found it turned entirely on children and ailments!  As
regards wit, the English are like the Oriental potentate who
at a ball in Europe expressed his astonishment that the guests
took the trouble to dance and get themselves hot and
dishevelled, explaining that in the East he paid people to do
that for him.  In England "amusers" are invited expressly to
be funny; anything uttered by one of these delightful
individuals is sure to be received with much laughter.  It is
so simple that way!  One is prepared and knows when to laugh.
Whereas amateur wit is confusing.  When an American I knew,
turning over the books on a drawing-room table and finding
Hare's WALKS IN LONDON, in two volumes, said, "So you part
your hair in the middle over here," the remark was received in
silence, and with looks of polite surprise.

It is not necessary, however, to accumulate proofs that this
much described society is less intelligent than our own.
Their authors have acknowledged it, and well they may.  For
from Scott and Dickens down to Hall Caine, American
appreciation has gone far toward establishing the reputation
of English writers at home.

In spite of lack of humor and a thousand other defects which
ought to make English swelldom antagonistic to our countrymen,
the fact remains that "smart" London tempts a certain number
of Americans and has become a promised land, toward which they
turn longing eyes.  You will always find a few of these
votaries over there in the "season," struggling bravely up the
social current, making acquaintances, spending money at
charity sales, giving dinners and fetes, taking houses at
Ascot and filling them with their new friends' friends.  With
more or less success as the new-comers have been able to
return satisfactory answers to the three primary questions.

What Americans are these, who force us to blush for them
infinitely more than for the unlettered tourists trotting
conscientiously around the country, doing the sights and
asking for soda-water and buckwheat cakes at the hotels!

Any one who has been an observer of the genus "Climber" at
home, and wondered at their way and courage, will recognize
these ambitious souls abroad; five minutes' conversation is
enough.  It is never about a place that they talk, but of the
people they know.  London to them is not the city of Dickens.
It is a place where one may meet the Prince of Wales and
perhaps obtain an entrance into his set.

One description will cover most climbers.  They are, as a
rule, people who start humbly in some small city, then when
fortune comes, push on to New York and Newport, where they
carry all before them and make their houses centres and
themselves powers.  Next comes the discovery that the circle
into which they have forced their way is not nearly as
attractive as it appeared from a distance.  Consequently that
vague disappointment is felt which most of us experience on
attaining a long desired goal - the unsatisfactoriness of
success!  Much the same sensation as caused poor Du Maurier to
answer, when asked shortly before his death why he looked so
glum, "I'm soured by success!"

So true is this of all human nature that the following recipe
might be given for the attainment of perfect happiness: "Begin
far down in any walk of life.  Rise by your efforts higher
each year, and then be careful to die before discovering that
there is nothing at the top.  The excitement of the struggle -
`the rapture of the chase' - are greater joys than
achievement."

Our ambitious friends naturally ignore this bit of philosophy.
When it is discovered that the "world" at home has given but
an unsatisfactory return for cash and conniving, it occurs to
them that the fault lies in the circle, and they assume that
their particular talents require a larger field.  Having
conquered all in sight, these social Alexanders pine for a new
world, which generally turns out to be the "Old," so a
crossing is made, and the "Conquest of England" begun with all
the enthusiasm and push employed on starting out from the
little native city twenty years before.

It is in Victoria's realm that foemen worthy of their steel
await the conquerors.  Home society was a too easy prey,
opening its doors and laying down its arms at the first
summons.  In England the new-comers find that their little
game has been played before; and, well, what they imagined was
a discovery proves to be a long-studied science with "DONNANT!
DONNANT!" as its fundamental law.  Wily opponents with trump
cards in their hands and a profound knowledge of "Hoyle"
smilingly offer them seats.  Having acquired in a home game a
knowledge of "bluff," our friends plunge with delight into the
fray, only to find English society so formed that, climb they
never so wisely, the top can never be reached.  Work as hard
as they may, succeed even beyond their fondest hopes, there
will always remain circles above, toward which to yearn -
people who will refuse to know them, houses they will never be
invited to enter.  Think of the charm, the attraction such a
civilization must have for the real born climber, and you, my
reader, will understand why certain of our compatriots enjoy
living in England, and why when once the intoxicating draught
(supplied to the ambitious on the other side) has been tasted,
all home concoctions prove insipid.




Chapter 10 - CALVE at Cabrieres


WHILE I was making a "cure" last year at Lamalou, an obscure
Spa in the Cevennes Mountains, Madame Calve, to whom I had
expressed a desire to see her picturesque home, telegraphed an
invitation to pass the day with her, naming the train she
could meet, which would allow for the long drive to her
chateau before luncheon.  It is needless to say the invitation
was accepted.  As my train drew up at the little station,
Madame Calve, in her trap, was the first person I saw, and no
time was lost in getting EN ROUTE.

During the hour passed on the poplar-bordered road that leads
straight and white across the country I had time to appreciate
the transformation in the woman at my side.  Was this gray-
clad, nunlike figure the passionate, sensuous Carmen of
Bizet's masterpiece?  Could that calm, pale face, crossed by
innumerable lines of suffering, as a spider's web lies on a
flower, blaze and pant with Sappho's guilty love?

Something of these thoughts must have appeared on my face, for
turning with a smile, she asked, "You find me changed?  It's
the air of my village.  Here I'm myself.  Everywhere else I'm
different.  On the stage I am any part I may be playing, but
am never really happy away from my hill there."  As she spoke,
a sun-baked hamlet came in sight, huddled around the base of
two tall towers that rose cool and gray in the noonday heat.

"All that wing," she added, "is arranged for the convalescent
girls whom I have sent down to me from the Paris hospitals for
a cure of fresh air and simple food.  Six years ago, just
after I had bought this place, a series of operations became
necessary which left me prostrated and anaemic.  No tonics
were of benefit.  I grew weaker day by day, until the doctors
began to despair of my life.  Finally, at the advice of an old
woman here who passes for being something of a curer, I tried
the experiment or lying five or six hours a day motionless in
the sunlight.  It wasn't long before I felt life creeping back
to my poor feeble body.  The hot sun of our magic south was a
more subtle tonic than any drug.  When the cure was complete,
I made up my mind that each summer the same chance should be
offered to as many of my suffering sisters as this old place
could be made to accommodate."

The bells on the shaggy Tarbes ponies she was driving along
the Languedoc road drew, on nearing her residence, a number of
peasant children from their play.

As the ruddy urchins ran shouting around our carriage wheels
and scrambled in the dust for the sous we threw them, my
hostess pointed laughing to a scrubby little girl with tomato-
colored cheeks and tousled dark hair, remarking, "I looked
like that twenty years ago and performed just those antics on
this very road.  No punishment would keep me off the highway.
Those pennies, if I'm not mistaken, will all be spent at the
village pastry cook's within an hour."

This was said with such a tender glance at the children that
one realized the great artist was at home here, surrounded by
the people she loved and understood.  True to the "homing"
instinct of the French peasant, Madame Calve, when fortune
came to her, bought and partially restored the rambling
chateau which at sunset casts its shadow across the village of
her birth.  Since that day every moment of freedom from
professional labor and every penny of her large income are
spent at Cabrieres, building, planning, even farming, when her
health permits.

"I think," she continued, as we approached the chateau, "that
the happiest day of my life - and I have, as you know, passed
some hours worth living, both on and off the stage - was when,
that wing completed, a Paris train brought the first occupants
for my twenty little bedrooms; no words can tell the delight
it gives me now to see the color coming back to my patients'
pale lips and hear them laughing and singing about the place.
As I am always short of funds, the idea of abandoning this
work is the only fear the future holds for me."

With the vivacity peculiar to her character, my companion then
whipped up her cobs and turned the conversation into gayer
channels.  Five minutes later we clattered over a drawbridge
and drew up in a roomy courtyard, half blinding sunlight and
half blue shadow, where a score of girls were occupied with
books and sewing.

The luncheon bell was ringing as we ascended the terrace
steps.  After a hurried five minutes for brushing and washing,
we took our places at a long table set in the cool stone hall,
guests stopping in the chateau occupying one end around the
chatelaine, the convalescents filling the other seats.

Those who have only seen the capricious diva on the stage or
in Parisian salons can form little idea of the proprietress of
Cabrieres.  No shade of coquetry blurs the clear picture of
her home life.  The capped and saboted peasant women who
waited on us were not more simple in their ways.  Several
times during the meal she left her seat to inquire after the
comfort of some invalid girl or inspect the cooking in the
adjacent kitchen.  These wanderings were not, however, allowed
to disturb the conversation, which flowed on after the mellow
French fashion, enlivened by much wit and gay badinage.  One
of our hostess's anecdotes at her own expense was especially
amusing.

"When in Venice," she told us, "most prima donnas are carried
to and from the opera in sedan chairs to avoid the risk of
colds from the draughty gondolas.  The last night of my
initial season there, I was informed, as the curtain fell,
that a number of Venetian nobles were planning to carry me in
triumph to the hotel.  When I descended from my dressing-room
the courtyard of the theatre was filled with men in dress
clothes, bearing lanterns, who caught up the chair as soon as
I was seated and carried it noisily across the city to the
hotel.  Much moved by this unusual honor, I mounted to the
balcony of my room, from which elevation I bowed my thanks,
and threw all the flowers at hand to my escort.

"Next morning the hotel proprietor appeared with my coffee,
and after hesitating a moment, remarked: `Well, we made a
success of it last night.  It has been telegraphed to all the
capitals of Europe!  I hope you will not think a thousand
francs too much, considering the advertisement!'  In blank
amazement, I asked what he meant.  `I mean the triumphal
progress,' he answered.  `I thought you understood!  We always
organize one for the "stars" who visit Venice.  The men who
carried your chair last night were the waiters from the
hotels.  We hire them on account of their dress clothes'!
Think of the disillusion," added Calve, laughing, "and my
disgust, when I thought of myself naively throwing kisses and
flowers to a group of Swiss garcons at fifteen francs a head.
There was nothing to do, however, but pay the bill and swallow
my chagrin!"

How many pretty women do you suppose would tell such a joke
upon themselves?  Another story she told us is characteristic
of her peasant neighbors.

"When I came back here after my first season in St. Petersburg
and London the CURE requested me to sing at our local fete.  I
gladly consented, and, standing by his side on the steps of
the MAIRIE, gave the great aria from the HUGUENOTS in my best
manner.  To my astonishment the performance was received in
complete silence.  `Poor Calve,' I heard an old friend of my
mother's murmur.  `Her voice used to be so nice, and now it's
all gone!'  Taking in the situation at a glance, I threw my
voice well up into my nose and started off on a well-known
provincial song, in the shrill falsetto of our peasant women.
The effect was instantaneous!  Long before the end the
performance was drowned in thunders of applause.  Which proves
that to be popular a singer must adapt herself to her
audience."

Luncheon over, we repaired for cigarettes and coffee to an
upper room, where Calve was giving Dagnan-Bouveret some
sittings for a portrait, and lingered there until four
o'clock, when our hostess left us for her siesta, and a
"break" took those who cared for the excursion across the
valley to inspect the ruins of a Roman bath.  A late dinner
brought us together again in a small dining room, the
convalescents having eaten their simple meal and disappeared
an hour before.  During this time, another transformation had
taken place in our mercurial hostess!  It was the Calve of
Paris, Calve the witch, Calve the CAPITEUSE, who presided at
the dainty, flower-decked table and led the laughing
conversation.

A few notes struck on a guitar by one of the party, as we sat
an hour later on the moonlit terrace, were enough to start off
the versatile artist, who was in her gayest humor.  She sang
us stray bits of opera, alternating her music with scenes
burlesqued from recent plays.  No one escaped her inimitable
mimicry, not even the "divine Sarah," Calve giving us an
unpayable impersonation of the elderly TRAGEDIENNE as
Lorenzaccio, the boy hero of Alfred de Musset's drama.
Burlesquing led to her dancing some Spanish steps with an
abandon never attempted on the stage!  Which in turn gave
place to an imitation of an American whistling an air from
CARMEN, and some "coon songs" she had picked up during her
stay at New York.  They, again, were succeeded by a superb
rendering of the imprecation from Racine's CAMILLE, which made
her audience realize that in gaining a soprano the world has
lost, perhaps, its greatest TRAGEDIENNE.

At eleven o'clock the clatter of hoofs in the court warned us
that the pleasant evening had come to an end.  A journalist EN
ROUTE for Paris was soon installed with me in the little
omnibus that was to take us to the station, Calve herself
lighting our cigars and providing the wraps that were to keep
out the cool night air.

As we passed under the low archway of the entrance amid a
clamor of "adieu" and "au revoir," the young Frenchman at my
side pointed up to a row of closed windows overhead.  "Isn't
it a lesson," he said, "for all of us, to think of the
occupants of those little rooms, whom the generosity and care
of that gracious artist are leaning by such pleasant paths
back to health and courage for their toilsome lives?"




Chapter 11 - A Cry For Fresh Air


"ONCE upon a time," reads the familiar nursery tale, while the
fairies, invited by a king and queen to the christening of
their daughter, were showering good gifts on the baby
princess, a disgruntled old witch, whom no one had thought of
asking to the ceremony, appeared uninvited on the scene and
revenged herself by decreeing that the presents of the good
fairies, instead of proving beneficial, should bring only
trouble and embarrassment to the royal infant.

A telling analogy might be drawn between that unhappy princess
over whose fate so many youthful tears have been shed, and the
condition of our invention-ridden country; for we see every
day how the good gifts of those nineteenth century fairies,
Science and Industry, instead of proving blessings to mankind,
are being turned by ignorance and stupidity into veritable
afflictions.

If a prophetic gentleman had told Louis Fourteenth's shivering
courtiers - whom an iron etiquette forced on winter mornings
into the (appropriately named) Galerie des Glaces, stamping
their silk-clad feet and blowing on their blue fingers, until
the king should appear - that within a century and a half one
simple discovery would enable all classes of people to keep
their shops and dwellings at a summer temperature through the
severest winters, the half-frozen nobles would have flouted
the suggestion as an "iridescent dream," a sort of too-good-
to-be-true prophecy.

What was to those noblemen an unheard-of luxury has become
within the last decade one of the primary necessities of our
life.

The question arises now: Are we gainers by the change?  Has
the indiscriminate use of heat been of advantage, either
mentally or physically, to the nation?

The incubus of caloric that sits on our gasping country is
particularly painful at this season, when nature undertakes to
do her own heating.

In other less-favored lands, the first spring days, the
exquisite awakening of the world after a long winter, bring to
the inhabitants a sensation of joy and renewed vitality.  We,
however, have discounted that enjoyment.  Delicate gradations
of temperature are lost on people who have been stewing for
six months in a mixture of steam and twice-breathed air.

What pleasure can an early April day afford the man who has
slept in an over-heated flat and is hurrying to an office
where eighty degrees is the average all the year round?  Or
the pale shop-girl, who complains if a breath of morning air
strays into the suburban train where she is seated?

As people who habitually use such "relishes" as Chutney and
Worcestershire are incapable of appreciating delicately
prepared food, so the "soft" mortals who have accustomed
themselves to a perpetual August are insensible to fine
shadings of temperature.

The other day I went with a friend to inspect some rooms he
had been decorating in one of our public schools.  The morning
had been frosty, but by eleven o'clock the sun warmed the air
uncomfortably.  On entering the school we were met by a blast
of heated air that was positively staggering.  In the
recitation rooms, where, as in all New York schoolrooms, the
children were packed like dominoes in a box, the temperature
could not have been under eighty-five.

The pale, spectacled spinster in charge, to whom we complained
of this, was astonished and offended at what she considered
our interference, and answered that "the children liked it
warm," as for herself she "had a cold and could not think of
opening a window."  If the rooms were too warm it was the
janitor's fault, and he had gone out!

Twelve o'clock struck before we had finished our tour of
inspection.  It is to be doubted if anywhere else in the world
could there be found such a procession of pasty-faced, dull-
eyed youngsters as trooped past us down the stairs.  Their
appearance was the natural result of compelling children
dressed for winter weather to sit many hours each day in
hothouses, more suited to tropical plants than to growing
human beings.

A gentleman with us remarked with a sigh, "I have been in
almost every school in the city and find the same condition
everywhere.  It is terrible, but there doesn't seem to be any
remedy for it."  The taste for living in a red-hot atmosphere
is growing on our people; even public vehicles have to be
heated now to please the patrons.

When tiresome old Benjamin Franklin made stoves popular he
struck a terrible blow at the health of his compatriots; the
introduction of steam heat and consequent suppression of all
health-giving ventilation did the rest; the rosy cheeks of
American children went up the chimney with the last whiff of
wood smoke, and have never returned.  Much of our home life
followed; no family can be expected to gather in cheerful
converse around a "radiator."

How can this horror of fresh air among us be explained?  If
people really enjoy living in overheated rooms with little or
no ventilation, why is it that we hear so much complaining,
when during the summer months the thermometer runs up into the
familiar nineties?  Why are children hurried out of town, and
why do wives consider it a necessity to desert their husbands?

It's rather inconsistent, to say the least, for not one of
those deserters but would "kick" if the theatre or church they
attend fell below that temperature in December.

It is impossible to go into our banks and offices and not
realize that the air has been breathed again and again, heated
and cooled, but never changed, - doors and windows fit too
tightly for that.

The pallor and dazed expression of the employees tell the same
tale.  I spoke to a youth the other day in an office about his
appearance and asked if he was ill.  "Yes," he answered, "I
have had a succession of colds all winter.  You see, my desk
here is next to the radiator, so I am in a perpetual
perspiration and catch cold as soon as I go out.  Last winter
I passed three months in a farmhouse, where the water froze in
my room at night, and we had to wear overcoats to our meals.
Yet I never had a cold there, and gained in weight and
strength."

Twenty years ago no "palatial private residence" was
considered complete unless there was a stationary washstand
(forming a direct connection with the sewer) in each bedroom.
We looked pityingly on foreigners who did not enjoy these
advantages, until one day we realized that the latter were in
the right, and straightway stationary washstands disappeared.

How much time must pass and how many victims be sacrificed
before we come to our senses on the great radiator question?

As a result of our population living in a furnace, it happens
now that when you rebel on being forced to take an impromptu
Turkish bath at a theatre, the usher answers your complaint
with "It can't be as warm as you think, for a lady over there
has just told me she felt chilly and asked for more heat!"

Another invention of the enemy is the "revolving door."  By
this ingenious contrivance the little fresh air that formerly
crept into a building is now excluded.  Which explains why on
entering our larger hotels one is taken by the throat, as it
were, by a sickening long-dead atmosphere - in which the
souvenir of past meals and decaying flowers floats like a
regret - such as explorers must find on opening an Egyptian
tomb.

Absurd as it may seem, it has become a distinction to have
cool rooms.  Alas, they are rare!  Those blessed households
where one has the delicious sensation of being chilly and can
turn with pleasure toward crackling wood!  The open fire has
become, within the last decade, a test of refinement, almost a
question of good breeding, forming a broad distinction between
dainty households and vulgar ones, and marking the line which
separates the homes of cultivated people from the parlors of
those who care only for display.

A drawing-room filled with heat, the source of which remains
invisible, is as characteristic of the parvenu as clanking
chains on a harness or fine clothes worn in the street.

An open fire is the "eye" of a room, which can no more be
attractive without it than the human face can be beautiful if
it lacks the visual organs.  The "gas fire" bears about the
same relation to the real thing as a glass eye does to a
natural one, and produces much the same sensation.  Artificial
eyes are painful necessities in some cases, and therefore
cannot be condemned; but the household which gathers
complacently around a "gas log" must have something radically
wrong with it, and would be capable of worse offences against
taste and hospitality.

There is a tombstone in a New England grave-yard the
inscription on which reads: "I was well, I wanted to be
better.  Here I am."

As regards heating of our houses, it's to be feared that we
have gone much the same road as the unfortunate New Englander.
I don't mean to imply that he is now suffering from too much
heat, but we, as a nation, certainly are.

Janitors and parlor-car conductors have replaced the wicked
fairies of other days, but are apparently animated by their
malignant spirit, and employ their hours of brief authority as
cruelly.  No witch dancing around her boiling cauldron was
ever more joyful than the fireman of a modern hotel, as he
gleefully turns more and more steam upon his helpless victims.
Long acquaintance with that gentleman has convinced me that he
cannot plead ignorance as an excuse for falling into these
excesses.  It is pure, unadulterated perversity, else why
should he invariably choose the mildest mornings to show what
his engines can do?

Many explanations have been offered for this love of a high
temperature by our compatriots.  Perhaps the true one has not
yet been found.  Is it not possible that what appears to be
folly and almost criminal negligence of the rules of health,
may be, after all, only a commendable ambition to renew the
exploits of those biblical heroes, Shadrach, Meshach, and
Abednego?




Chapter 12 - The Paris of our Grandparents


WE are apt to fall into the error of assuming that only
American cities have displaced their centres and changed their
appearance during the last half-century.

The "oldest inhabitant," with his twice-told tales of
transformations and changes, is to a certain extent
responsible for this; by contrast, we imagine that the
capitals of Europe have always been just as we see them.  So
strong is this impression that it requires a serious effort of
the imagination to reconstruct the Paris that our grandparents
knew and admired, few as the years are that separate their day
from ours.

It is, for instance, difficult to conceive of a Paris that
ended at the rue Royale, with only waste land and market
gardens beyond the Madeleine, where to-day so many avenues
open their stately perspectives; yet such was the case!  The
few fine residences that existed beyond that point faced the
Faubourg Saint-Honore, with gardens running back to an unkempt
open country called the Champs Elysees, where an unfinished
Arc de Triomphe stood alone in a wilderness that no one ever
dreamed of traversing.

The fashionable ladies of that time drove in the afternoon
along the boulevards from the Madeleine to the Chateau d'Eau,
and stopped their ponderous yellow barouches at Tortoni's,
where ices were served to them in their carriages, while they
chatted with immaculate dandies in skin-tight nankeen
unmentionables, blue swallow-tailed coats, and furry `beaver"
hats.

While looking over some books in the company of an old lady
who from time to time opens her store of treasures and recalls
her remote youth at my request, and whose SPIRITUEL and
graphic language gives to her souvenirs the air of being stray
chapters from some old-fashioned romance, I received a vivid
impression of how the French capital must have looked fifty
years ago.

Emptying in her company a chest of books that had not seen the
light for several decades, we came across a "Panorama of the
Boulevards," dated 1845, which proved when unfolded to be a
colored lithograph, a couple of yards long by five or six
inches high, representing the line of boulevards from the
Madeleine to the Place de la Bastille.  Each house, almost
each tree, was faithfully depicted, together with the crowds
on the sidewalks and the carriages in the street.  The whole
scene was as different from the effect made by that
thoroughfare to-day as though five hundred and not fifty years
had elapsed since the little book was printed.  The picture
breathed an atmosphere of calm and nameless quaintness that
one finds now only in old provincial cities which have escaped
the ravages of improvement.

My companion sat with the book unfolded before her, in a
smiling trance.  Her mind had turned back to the far-away days
when she first trod those streets a bride, with all the
pleasures and few of the cares of life to think about.

I watched her in silence (it seemed a sacrilege to break in on
such a train of thought), until gradually her eyes lost their
far-away expression, and, turning to me with a smile, she
exclaimed: "How we ever had the courage to appear in the
street dressed as we were is a mystery!  Do you see that
carriage?" pointing in the print to a high-swung family
vehicle with a powdered coachman on the box, and two sky-blue
lackeys standing behind.  "I can remember, as if it were
yesterday, going to drive with Lady B-, the British
ambassadress, in just such a conveyance.  She drove four
horses with feathers on their heads, when she used to come to
Meurice's for me.  I blush when I think that my frock was so
scant that I had to raise the skirt almost to my knees in
order to get into her carriage.

"Why we didn't all die of pneumonia is another marvel, for we
wore low-necked dresses and the thinnest of slippers in the
street, our heads being about the only part that was
completely covered.  I was particularly proud of a turban
surmounted with a bird of paradise, but Lady B- affected poke
bonnets, then just coming into fashion, so large and so deep
that when one looked at her from the side nothing was visible
except two curls, `as damp and as black as leeches.'  In other
ways our toilets were absurdly unsuited for every-day wear; we
wore light scarves over our necks, and rarely used furlined
pelisses."

Returning to an examination of the panorama, my companion
pointed out to me that there was no break in the boulevards,
where the opera-house, with its seven radiating avenues, now
stands, but a long line of Hotels, dozing behind high walls,
and quaint two-storied buildings that undoubtedly dated from
the razing of the city wall and the opening of the new
thoroughfare under Louis XV.

A little farther on was the world-famous Maison Doree, where
one almost expected to see Alfred de Musset and le docteur
Veron dining with Dumas and Eugene Sue.

"What in the name of goodness is that?" I exclaimed, pointing
to a couple of black and yellow monstrosities on wheels, which
looked like three carriages joined together with a "buggy"
added on in front.

"That's the diligence just arrived from Calais; it has been
two days EN ROUTE, the passengers sleeping as best they could,
side by side, and escaping from their confinement only when
horses were changed or while stopping for meals.  That high
two-wheeled trap with the little `tiger' standing up behind is
a tilbury.  We used to see the Count d'Orsay driving one like
that almost every day.  He wore butter-colored gloves, and the
skirts of his coat were pleated full all around, and stood out
like a ballet girl's.  It is a pity they have not included
Louis Philippe and his family jogging off to Neuilly in the
court `carryall,' - the `Citizen King,' with his blue umbrella
between his knees, trying to look like an honest bourgeois,
and failing even in that attempt to please the Parisians.

"We were in Paris in '48; from my window at Meurice's I saw
poor old JUSTE MILIEU read his abdication from the historic
middle balcony of the Tuileries, and half an hour later we
perceived the Duchesse d'Orleans leave the Tuileries on foot,
leading her two sons by the hand, and walk through the gardens
and across the Place de la Concorde to the Corps Legislatif,
in a last attempt to save the crown for her son.  Futile
effort!  That evening the `Citizen King' was hurried through
those same gardens and into a passing cab, EN ROUTE for a life
exile.

"Our balcony at Meurice's was a fine point of observation from
which to watch a revolution.  With an opera-glass we could see
the mob surging to the sack of the palace, the priceless
furniture and bric-a-brac flung into the street, court dresses
waved on pikes from the tall windows, and finally the throne
brought out, and carried off to be burned.  There was no
keeping the men of our party in after that.  They rushed off
to have a nearer glimpse of the fighting, and we saw no more
of them until daybreak the following morning when, just as we
were preparing to send for the police, two dilapidated,
ragged, black-faced mortals appeared, in whom we barely
recognized our husbands.  They had been impressed into service
and passed their night building barricades.  My better half,
however, had succeeded in snatching a handful of the gold
fringe from the throne as it was carried by, an act of prowess
that repaid him for all his troubles and fatigue.

"I passed the greater part of forty-eight hours on our
balcony, watching the mob marching by, singing LA
MARSEILLAISE, and camping at night in the streets.  It was all
I could do to tear myself away from the window long enough to
eat and write in my journal.

"There was no Avenue de l'Opera then.  The trip from the
boulevards to the Palais-Royal had to be made by a long detour
across the Place Vendome (where, by the bye, a cattle market
was held) or through a labyrinth of narrow, bad-smelling
little streets, where strangers easily lost their way.  Next
to the boulevards, the Palais-Royal was the centre of the
elegant and dissipated life in the capital.  It was there we
met of an afternoon to drink chocolate at the `Rotonde,' or to
dine at `Les Trois Freres Provencaux,' and let our husbands
have a try at the gambling tables in the Passage d'Orleans.

"No one thought of buying jewelry anywhere else.  It was from
the windows of its shops that the fashions started on their
way around the world.  When Victoria as a bride was visiting
Louis Philippe, she was so fascinated by the aspect of the
place that the gallant French king ordered a miniature copy of
the scene, made IN PAPIER-MACHE, as a present for his guest, a
sort of gigantic dolls' house in which not only the palace and
its long colonnades were reproduced, but every tiny shop and
the myriad articles for sale were copied with Chinese
fidelity.  Unfortunately the pear-headed old king became
England's uninvited guest before this clumsy toy was finished,
so it never crossed the Channel, but can be seen to-day by any
one curious enough to examine it, in the Musee Carnavalet.

"Few of us realize that the Paris of Charles X. and Louis
Philippe would seem to us now a small, ill-paved, and worse-
lighted provincial town, with few theatres or hotels,
communicating with the outer world only by means of a horse-
drawn `post,' and practically farther from London than
Constantinople is to-day.  One feels this isolation in the
literature of the time; brilliant as the epoch was, the
horizon of its writers was bounded by the boulevards and the
Faubourg Saint-Germain."

Dumas says laughingly, in a letter to a friend: "I have never
ventured into the unexplored country beyond the Bastille, but
am convinced that it shelters wild animals and savages."  The
wit and brains of the period were concentrated into a small
space.  Money-making had no more part in the programme of a
writer then than an introduction into "society."  Catering to
a foreign market and snobbishness were undreamed-of
degradations.  Paris had not yet been turned into the FOIRE DU
MONDE that she has since become, with whole quarters given
over to the use of foreigners, - theatres, restaurants, and
hotels created only for the use of a polyglot population that
could give lessons to the people around Babel's famous
"tower."




Chapter 13 - Some American Husbands


UNTIL the beginning of this century men played the BEAU ROLE
in life's comedy.  As in the rest of the animal world, our
males were the brilliant members of the community, flaunting
their gaudy plumage at home and abroad, while the women-folk
remained in seclusion, tending their children, directing the
servants, or ministering to their lords' comfort.

In those happy days the husband ruled supreme at his own
fireside, receiving the homage of the family, who bent to his
will and obeyed his orders.

During the last century, however, the "part" of better half
has become less and less attractive in America, one
prerogative after another having been whisked away by
enterprising wives.  Modern Delilahs have yearly snipped off
more and more of Samson's luxuriant curls, and added those
ornaments to their own COIFFURES, until in the majority of
families the husband finds himself reduced to a state of
bondage compared with which the biblical hero enjoyed a
pampered idleness.  Times have indeed changed in America since
the native chief sat in dignified repose bedizened with all
the finery at hand, while the ladies of the family waited
tremblingly upon him.  To-day it is the American husband who
turns the grindstone all the year round, and it is his pretty
tyrant who enjoys the elegant leisure that a century ago was
considered a masculine luxury.

To America must be given the credit of having produced the
model husband, a new species, as it were, of the GENUS HOMO.

In no role does a compatriot appear to such advantage as in
that of Benedict.  As a boy he is often too advanced for his
years or his information; in youth he is conspicuous neither
for his culture nor his unselfishness.  But once in
matrimonial harness this untrained animal becomes bridle-wise
with surprising rapidity, and will for the rest of life go
through his paces, waltzing, kneeing, and saluting with hardly
a touch of the whip.  Whether this is the result of superior
horse-womanship on the part of American wives or a trait
peculiar to sons of "Uncle Sam," is hard to say, but the fact
is self-evident to any observer that our fair equestrians
rarely meet with a rebellious mount.

Any one who has studied marital ways in other lands will
realize that in no country have the men effaced themselves so
gracefully as with us.  In this respect no foreign production
can compare for a moment with the domestic article.  In
English, French, and German families the husband is still all-
powerful.  The house is mounted, guests are asked, and the
year planned out to suit his occupations and pleasure.  Here
papa is rarely consulted until such matters have been decided
upon by the ladies, when the head of the house is called in to
sign the checks.

I have had occasion more than once to bewail the shortcomings
of the American man, and so take pleasure in pointing out the
modesty and good temper with which he fills this role.  He is
trained from the beginning to give all and expect nothing in
return, an American girl rarely bringing any DOT to her
husband, no matter how wealthy her family may be.  If, as
occasionally happens, an income is allowed a bride by her
parents, she expects to spend it on her toilets or pleasures.
This condition of the matrimonial market exists in no other
country; even in England, where MARIAGES DE CONVENANCE are
rare, "settlements" form an inevitable prelude to conjugal
bliss.

The fact that she contributes little or nothing to the common
income in no way embarrasses an American wife; her pretensions
are usually in an inverse proportion to her personal means.  A
man I knew some years ago deliberately chose his bride from an
impecunious family (in the hope that her simple surroundings
had inculcated homely taste), and announced to an incredulous
circle of friends, at his last bachelor dinner, that he
intended, in future, to pass his evenings at his fireside,
between his book and his pretty spouse.  Poor, innocent,
confiding mortal!  The wife quickly became a belle of the
fastest set in town.  Having had more than she wanted of
firesides and quiet evenings before her marriage, her idea was
to go about as much as possible, and, when not so occupied, to
fill her house with company.  It may be laid down as a maxim
in this connection that a man marries to obtain a home, and a
girl to get away from one; hence disappointment on both sides.

The couple in question have in all probability not passed an
evening alone since they were married, the lady rarely
stopping in the round of her gayeties until she collapses from
fatigue.  Their home is typical of their life, which itself
can be taken as a good example of the existence that most of
our "smart" people lead.  The ground floor and the first floor
are given up to entertaining.  The second is occupied by the
spacious sitting, bath, and sleeping rooms of the lady.  A
ten-by-twelve chamber suffices for my lord, and the only den
he can rightly call his own is a small room near the front
door, about as private as the sidewalk, which is turned into a
cloak-room whenever the couple receive, making it impossible
to keep books or papers of value there, or even to use it as a
smoking-room after dinner, so his men guests sit around the
dismantled dining-table while the ladies are enjoying a suite
of parlors above.

At first the idea of such an unequal division of the house
shocks our sense of justice, until we reflect that the
American husband is not expected to remain at home.  That's
not his place!  If he is not down town making money, fashion
dictates that he must be at some club-house playing a game.  A
man who should remain at home, and read or chat with the
ladies of his family, would be considered a bore and unmanly.
There seems to be no place in an American house for its head.
More than once when the friend I have referred to has asked
me, at the club, to dine informally with him, we have found,
on arriving, that Madame, having an evening off, had gone to
bed and forgotten to order any dinner, so we were obliged to
return to the club for our meal.  When, however, his wife is
in good health, she expects her weary husband to accompany her
to dinner, opera, or ball, night after night, oblivious of the
work the morrow holds in store for him.

In one family I know, paterfamilias goes by the name of the
"purse."  The more one sees of American households the more
appropriate that name appears.  Everything is expected of the
husband, and he is accorded no definite place in return.  He
leaves the house at 8.30.  When he returns, at five, if his
wife is entertaining a man at tea, it would be considered the
height of indelicacy for him to intrude upon them, for his
arrival would cast a chill on the conversation.  When a couple
dine out, the husband is always LA BETE NOIRE of the hostess,
no woman wanting to sit next to a married man, if she can help
it.

The few Benedicts who have had the courage to break away from
these conditions and amuse themselves with yachts, salmon
rivers, or "grass-bachelor" trips to Europe, while secretly
admired by the women, are frowned upon in society as dangerous
examples, likely to sow the seeds of discontent among their
comrades; although it is the commonest thing in the world for
an American wife to take the children and go abroad on a tour.

Imagine a German or Italian wife announcing to her spouse that
she had decided to run over to England for a year with her
children, that they might learn English.  The mind recoils in
horror from the idea of the catastrophe that would ensue.

Glance around a ball-room, a dinner party, or the opera, if
you have any doubts as to the unselfishness of our married
men.  How many of them do you suppose are present for their
own pleasure?  The owner of an opera box rarely retains a seat
in his expensive quarters.  You generally find him idling in
the lobbies looking at his watch, or repairing to a
neighboring concert hall to pass the weary hours.  At a ball
it is even worse.  One wonders why card-rooms are not provided
at large balls (as is the custom abroad), where the bored
husbands might find a little solace over "bridge," instead of
yawning in the coat-room or making desperate signs to their
wives from the doorway, - signals of distress, by the bye,
that rarely produce any effect.

It is the rebellious husband who is admired and courted,
however.  A curious trait of human nature compels admiration
for whatever is harmful, and forces us, in spite of our better
judgment, to depreciate the useful and beneficent.  The coats-
of-arms of all countries are crowded with eagles and lions,
that never yet did any good, living or dead; orators enlarge
on the fine qualities of these birds and beasts, and hold them
up as models, while using as terms of reproach the name of the
goose or the cow, creatures that minister in a hundred ways to
our wants.  Such a spirit has brought helpful, productive
"better halves" to the humble place they now occupy in the
eyes of our people.

As long as men passed their time in fighting and carousing
they were heroes; as soon as they became patient bread-winners
all the romance evaporated from their atmosphere.  The Jewish
Hercules had his revenge in the end and made things
disagreeable for his tormentors.  So far, however, there are
no signs of a revolt among the shorn lambs in this country.
They patiently bend their necks to the collar - the kindest,
most loving and devoted helpmates that ever plodded under the
matrimonial yoke.

When in the East, one watches with admiration the part a
donkey plays in the economy of those primitive lands.  All the
work is reserved for that industrious animal, and little play
falls to his share.  The camel is always bad-tempered, and
when overladen lies down, refusing to move until relieved of
its burden.  The Turk is lazy and selfish, the native women
pass their time in chattering and giggling, the children play
and squabble, the ubiquitous dog sleeps in the sun; but from
daybreak to midnight the little mouse-colored donkeys toil
unceasingly.  All burdens too bulky or too cumbersome for man
are put on his back; the provender which horses and camels
have refused becomes his portion; he is the first to begin the
day's labor, and the last to turn in.  It is impossible to
live long in the Orient or the south of France without
becoming attached to those gentle, willing animals.  The role
which honest "Bourico" fills so well abroad is played on this
side of the Atlantic by the American husband.

I mean no disrespect to my married compatriots; on the
contrary, I admire them as I do all docile, unselfish beings.
It is well for our women, however, that their lords, like the
little Oriental donkeys, ignore their strength, and are
content to toil on to the end of their days, expecting neither
praise nor thanks in return.




Chapter 14 - "CAROLUS"


IN the early seventies a group of students - dissatisfied with
the cut-and-dried instruction of the Paris art school and
attracted by certain qualities of color and technique in the
work of a young Frenchman from the city of Lille, who was just
beginning to attract the attention of connoisseurs - went in a
body to his studio with the request that he would oversee
their work and direct their studies.  The artist thus chosen
was Carolus-Duran.  Oddly enough, a majority of the youths who
sought him out and made him their master were Americans.

The first modest workroom on the Boulevard Montparnasse was
soon too small to hold the pupils who crowded under this newly
raised banner, and a move was made to more commodious quarters
near the master's private studio.  Sargent, Dannat, Harrison,
Beckwith, Hinckley, and many others whom it is needless to
mention here, will - if these lines come under their notice -
doubtless recall with a thrill of pleasure the roomy one-
storied structure in the rue Notre-Dame des Champs where we
established our ATELIER D'ELEVES, a self-supporting
cooperative concern, each student contributing ten francs a
month toward rent, fire, and models, "Carolus" - the name by
which this master is universally known abroad - not only
refusing all compensation, according to the immutable custom
of French painters of distinction, but, as we discovered
later, contributing too often from his own pocket to help out
the MASSIER at the end of a difficult season, or smooth the
path of some improvident pupil.

Those were cloudless, enchanted days we passed in the tumbled
down old atelier: an ardent springtime of life when the future
beckons gayly and no doubts of success obscure the horizon.
Our young master's enthusiasm fired his circle of pupils, who,
as each succeeding year brought him increasing fame, revelled
in a reflected glory with the generous admiration of youth, in
which there is neither calculation nor shadow of envy.

A portrait of Madame de Portalais, exhibited about this time,
drew all art-loving Paris around the new celebrity's canvas.
Shortly after, the government purchased a painting (of our
master's beautiful wife), now known as LA FEMME AU GANT, for
the Luxembourg Gallery.

It is difficult to overestimate the impetus that a master's
successes impart to the progress of his pupils.  My first
studious year in Paris had been passed in the shadow of an
elderly painter, who was comfortably dozing on the laurels of
thirty years before.  The change from that sleepy environment
to the vivid enthusiasm and dash of Carolus-Duran's studio was
like stepping out of a musty cloister into the warmth and
movement of a market-place.

Here, be it said in passing, lies perhaps the secret of the
dry rot that too often settles on our American art schools.
We, for some unknown reason, do not take the work of native
painters seriously, nor encourage them in proportion to their
merit.  In consequence they retain but a feeble hold upon
their pupils.

Carolus, handsome, young, successful, courted, was an ideal
leader for a band of ambitious, high-strung youths, repaying
their devotion with an untiring interest and lifting clever
and dull alike on the strong wings of his genius.  His visits
to the studio, on which his friend Henner often accompanied
him, were frequent and prolonged; certain Tuesdays being
especially appreciated by us, as they were set apart for his
criticism of original compositions.

When our sketches (the subject for which had been given out in
advance) were arranged, and we had seated ourselves in a big
half-circle on the floor, Carolus would install himself on a
tall stool, the one seat the studio boasted, and chat A PROPOS
of the works before him on composition, on classic art, on the
theories of color and clair-obscur.  Brilliant talks, inlaid
with much wit and incisive criticism, the memory of which must
linger in the minds of all who were fortunate enough to hear
them.  Nor was it to the studio alone that our master's
interest followed us.  He would drop in at the Louvre, when we
were copying there, and after some pleasant words of advice
and encouragement, lead us off for a stroll through the
galleries, interrupted by stations before his favorite
masterpieces.

So important has he always considered a constant study of
Renaissance art that recently, when about to commence his
TRIUMPH OF BACCHUS, Carolus copied one of Rubens's larger
canvases with all the naivete of a beginner.

An occasion soon presented itself for us to learn another side
of our trade by working with our master on a ceiling ordered
of him by the state for the Palace of the Luxembourg.  The
vast studios which the city of Paris provides on occasions of
this kind, with a liberality that should make our home
corporations reflect, are situated out beyond the Exhibition
buildings, in a curious, unfrequented quarter, ignored alike
by Parisians and tourists, where the city stores compromising
statues and the valuable debris of her many revolutions.
There, among throneless Napoleons and riderless bronze steeds,
we toiled for over six months side by side with our master, on
gigantic APOTHEOSIS OF MARIE DE MEDICIS, serving in turn as
painter and painted, and leaving the imprint of our hands and
the reflection of our faces scattered about the composition.
Day after day, when work was over, we would hoist the big
canvas by means of a system of ropes and pulleys, from a
perpendicular to the horizontal position it was to occupy
permanently, and then sit straining our necks and discussing
the progress of the work until the tardy spring twilight
warned us to depart.

The year 1877 brought Carolus-Duran the MEDAILLE D'HONNEUR, a
crowning recompense that set the atelier mad with delight.  We
immediately organized a great (but economical) banquet to
commemorate the event, over which our master presided, with
much modesty, considering the amount of incense we burned
before him, and the speeches we made.  One of our number even
burst into some very bad French verses, asserting that the
painters of the world in general fell back before him -


. . . EPOUVANTES -
CRAIGNANT EGALEMENT SA BROSSE ET SON EPEE.


This allusion to his proficiency in fencing was considered
particularly neat, and became the favorite song of the studio,
to be howled in and out of season.

Curiously enough, there is always something in Carolus-Duran's
attitude when at work which recalls the swordsman.  With an
enormous palette in one hand and a brush in the other, he has
a way of planting himself in front of his sitter that is
amusingly suggestive of a duel.  His lithe body sways to and
fro, his fine leonine face quivers with the intense study of
his model; then with a sudden spring forward, a few rapid
touches are dashed on the canvas (like home strokes in the
enemy's weakest spot) with a precision of hand acquired only
by long years of fencing.

An order to paint the king and queen of Portugal was the next
step on the road to fame, another rung on the pleasant ladder
of success.  When this work was done the delighted sovereign
presented the painter with the order of "Christ of Portugal,"
together with many other gifts, among which a caricature of
the master at work, signed by his sitter, is not the least
valued.

When the great schism occurred several years ago which rent
the art world of France, Carolus-Duran was elected vice-
president of the new school under Meissonier, to whose office
he succeeded on that master's death; and now directs and
presides over the yearly exhibition known as the SALON DU
CHAMP DE MARS.

At his chateau near Paris or at Saint Raphael, on the
Mediterranean, the master lives, like Leonardo of old, the
existence of a grand seigneur, surrounded by his family,
innumerable guests, and the horses and dogs he loves, - a
group of which his ornate figure and expressive face form the
natural centre.  Each year he lives more away from the world,
but no more inspiriting sight can be imagined than the welcome
the president receives of a "varnishing" day, when he makes
his entry surrounded by his pupils.  The students cheer
themselves hoarse, and the public climbs on everything that
comes to hand to see him pass.  It is hard to realize then
that this is the same man who, not content with his youthful
progress, retired into an Italian monastery that he might
commune face to face with nature undisturbed.

The works of no other painter give me the same sensation of
quivering vitality, except the Velasquez in the Madrid Gallery
and, perhaps, Sargent at his best; and one feels all through
the American painter's work the influence of his first and
only master.

"TOUT CE QUI N'EST PAS INDISPENSABLE EST NUISIBLE," a phrase
which is often on Carolus-Duran's lips, may be taken as the
keynote of his work, where one finds a noble simplicity of
line and color scheme, an elimination of useless detail, a
contempt for tricks to enforce an effect, and above all a
comprehension and mastery of light, vitality, and texture -
those three unities of the painter's art - that bring his
canvases very near to those of his self-imposed Spanish
master.

Those who know the French painter's more important works and
his many splendid studies from the nude, feel it a pity that
such masterpieces as the equestrian portrait of Mlle.
Croisette, of the Comedie Francaise, the REVEIL, the superb
full length of Mme. Pelouse on the Terrace of Chenonceau, and
the head of Gounod in the Luxembourg, could not be collected
into one exhibition, that lovers of art here in America might
realize for themselves how this master's works are of the
class that typify a school and an epoch, and engrave their
author's name among those destined to become household words
in the mouths of future generations.




Chapter 15 - The Grand Opera Fad


WITHOUT being more curious than my neighbors, there are
several social mysteries that I should like to fathom, among
others, the real reasons that induce the different classes of
people one sees at the opera to attend that form of
entertainment.

A taste for the theatre is natural enough.  It is also easy to
understand why people who are fond of sport and animals enjoy
races and dog shows.  But the continued vogue of grand opera,
and more especially of Wagner's long-drawn-out compositions,
among our restless, unmusical compatriots, remains
unexplained.

The sheeplike docility of our public is apparent in numberless
ways; in none, however, more strikingly than in their choice
of amusements.  In business and religion, people occasionally
think for themselves; in the selection of entertainments,
never! but are apparently content to receive their opinions
and prejudices ready-made from some unseen and omnipotent
Areopagus.

The careful study of an opera audience from different parts of
our auditorium has brought me to the conclusion that the
public there may be loosely divided into three classes -
leaving out reporters of fashionable intelligence, dressmakers
in search of ideas, and the lady inhabitants of "Crank Alley"
(as a certain corner of the orchestra is called), who sit in
perpetual adoration before the elderly tenor.

First - but before venturing further on dangerously thin ice,
it may be as well to suggest that this subject is not treated
in absolute seriousness, and that all assertions must not be
taken AU PIED DE LA LETTRE.  First, then, and most important,
come the stockholders, for without them the Metropolitan would
close.  The majority of these fortunate people and their
guests look upon the opera as a social function, where one can
meet one's friends and be seen, an entertaining antechamber in
which to linger until it's time to "go on," her Box being to-
day as necessary a part of a great lady's outfit as a country
house or a ball-room.

Second are those who attend because it has become the correct
thing to be seen at the opera.  There is so much wealth in
this city and so little opportunity for its display, so many
people long to go about who are asked nowhere, that the opera
has been seized upon as a centre in which to air rich apparel
and elbow the "world."  This list fills a large part of the
closely packed parquet and first balcony.

Third, and last, come the lovers of music, who mostly inhabit
greater altitudes.

The motive of the typical box-owner is simple.  Her night at
the opera is the excuse for a cosy little dinner, one woman
friend (two would spoil the effect of the box) and four men,
without counting the husband, who appears at dinner, but
rarely goes further.  The pleasant meal and the subsequent
smoke are prolonged until 9 or 9.30, when the men are finally
dragged murmuring from their cigars.  If she has been
fortunate and timed her arrival to correspond with an
ENTR'ACTE, my lady is radiant.  The lights are up, she can see
who are present, and the public can inspect her toilet and
jewels as she settles herself under the combine d gaze of the
house, and proceeds to hold an informal reception for the rest
of the evening.  The men she has brought with her quickly cede
their places to callers, and wander yawning in the lobby or
invade the neighboring boxes and add their voices to the
general murmur.

Although there is much less talking than formerly, it is the
toleration of this custom at all by the public that indicates
(along with many other straws) that we are not a music-loving
people.  Audible conversation during a performance would not
be allowed for a moment by a Continental audience.  The little
visiting that takes place in boxes abroad is done during the
ENTR'ACTES, when people retire to the salons back of their
LOGES to eat ices and chat.  Here those little parlors are
turned into cloak-rooms, and small talk goes on in many boxes
during the entire performance.  The joke or scandal of the day
is discussed; strangers in town, or literary and artistic
lights - "freaks," they are discriminatingly called - are
pointed out, toilets passed in review, and those dreadful two
hours passed which, for some undiscovered reason, must elapse
between a dinner and a dance.  If a favorite tenor is singing,
and no one happens to be whispering nonsense over her
shoulder, my lady may listen in a distrait way.  It is not
safe, however, to count on prolonged attention or ask her
questions about the performance.  She is apt to be a bit hazy
as to who is singing, and with the exception of FAUST and
CARMEN, has rudimentary ideas about plots.  Singers come and
go, weep, swoon, or are killed, without interfering with her
equanimity.  She has, for instance, seen the HUGUENOTS and the
RHEINGOLD dozens of times, but knows no more why Raoul is
brought blindfolded to Chenonceaux, or what Wotan and Erda say
to each other in their interminable scenes, than she does of
the contents of the Vedas.  For the matter of that, if three
or four principal airs were suppressed from an opera and the
scenery and costumes changed, many in that chattering circle
would, I fear, not know what they were listening to.

Last winter, when Melba sang in AIDA, disguised by dark hair
and a brown skin, a lady near me vouchsafed the opinion that
the "little black woman hadn't a bad voice;" a gentleman (to
whom I remarked last week "that as Sembrich had sung Rosina in
the BARBER, it was rather a shock to see her appear as that
lady's servant in the MARIAGE DE FIGARO") looked his blank
amazement until it was explained to him that one of those
operas was a continuation of the other.  After a pause he
remarked, "They are not by the same composer, anyway!  Because
the first's by Rossini, and the MARIAGE is by Bon Marche.
I've been at his shop in Paris."

The presence of the second category - the would-be fashionable
people - is not so easily accounted for.  Their attendance can
hardly be attributed to love of melody, as they are, if
anything, a shade less musical than the box-dwellers, who, by
the bye, seem to exercise an irresistible fascination, to
judge by the trend of conversation and direction of glasses.
Although an imposing and sufficiently attentive throng, it
would be difficult to find a less discriminating public than
that which gathers nightly in the Metropolitan parterre.  One
wonders how many of those people care for music and how many
attend because it is expensive and "swell."

They will listen with the same bland contentment to either bad
or good performances so long as a world-renowned artist (some
one who is being paid a comfortable little fortune for the
evening) is on the stage.  The orchestra may be badly led (it
often is); the singers may flat - or be out of voice; the
performance may go all at sixes and sevens - there is never a
murmur of dissent.  Faults that would set an entire audience
at Naples or Milan hissing are accepted herewith ignorant
approval.

The unfortunate part of it is that this weakness of ours has
become known.  The singers feel they can give an American
audience any slipshod performance.  I have seen a favorite
soprano shrug her shoulders as she entered her dressing-room
and exclaim: "MON DIEU!  How I shuffled through that act!
They'd have hooted me off the stage in Berlin, but here no one
seems to care.  Did you notice the baritone to-night?  He
wasn't on the key once during our duo.  I cannot sing my best,
try as I will, when I hear the public applauding good and bad
alike!"

It is strange that our pleasure-loving rich people should have
hit on the opera as a favorite haunt.  We and the English are
the only race who will attend performances in a foreign
language which we don't understand.  How can intelligent
people who don't care for music go on, season after season,
listening to operas, the plots of which they ignore, and which
in their hearts they find dull?

Is it so very amusing to watch two middle-aged ladies nagging
each other, at two o'clock in the morning, on a public square,
as they do in LOHENGRIN?  Do people find the lecture that
Isolde's husband delivers to the guilty lovers entertaining?
Does an opera produce any illusion on my neighbors?  I wish it
did on me!  I see too plainly the paint on the singers' hot
faces and the cords straining in their tired throats!  I sit
on certain nights in agony, fearing to see stout Romeo roll on
the stage in apoplexy!  The sopranos, too, have a way, when
about to emit a roulade, that is more suggestive of a
dentist's chair, and the attendant gargle, than of a love
phrase.

When two celebrities combine in a final duo, facing the public
and not each other, they give the impression of victims whom
an unseen inquisitor is torturing.  Each turn of his screw
draws out a wilder cry.  The orchestra (in the pay of the
demon) does all it can to prevent their shrieks from reaching
the public.  The lovers in turn redouble their efforts; they
are purple in the face and glistening with perspiration.
Defeat, they know, is before them, for the orchestra has the
greater staying power!  The flutes bleat; the trombones grunt;
the fiddles squeal; an epileptic leader cuts wildly into the
air about him.  When, finally, their strength exhausted, the
breathless human beings, with one last ear-piercing note, give
up the struggle and retire, the public, excited by the unequal
contest, bursts into thunders of applause.

Why wouldn't it be a good idea, in order to avoid these
painful exhibitions, to have an arrangement of screens, with
the singing people behind and a company of young and
attractive pantomimists going through the gestures and
movements in front?  Otherwise, how can the most imaginative
natures lose themselves at an opera?  Even when the singers
are comely, there is always that eternal double row of stony-
faced witnesses in full view, whom no crimes astonish and no
misfortunes melt.  It takes most of the poetry out of Faust's
first words with Marguerite, to have that short interview
interrupted by a line of old, weary women shouting, "Let us
whirl in the waltz o'er the mount and the plain!"  Or when
Scotch Lucy appears in a smart tea-gown and is good enough to
perform difficult exercises before a half-circle of Italian
gentlemen in pantalets and ladies in court costumes, does she
give any one the illusion of an abandoned wife dying of a
broken heart alone in the Highlands?  Broken heart, indeed!
It's much more likely she'll die of a ruptured blood-vessel!

Philistines in matters musical, like myself, unfortunate
mortals whom the sweetest sounds fail to enthrall when
connected with no memory or idea, or when prolonged beyond a
limited period, must approach the third group with hesitation
and awe.  That they are sincere, is evident.  The rapt
expressions of their faces, and their patience, bear testimony
to this fact.  For a long time I asked myself, "Where have I
seen that intense, absorbed attitude before?"  Suddenly one
evening another scene rose in my memory.

Have you ever visited Tangiers?  In the market-place of that
city you will find the inhabitants crouched by hundreds around
their native musicians.  When we were there, one old duffer -
the Wagner, doubtless, of the place - was having an immense
success.  No matter at what hour of the day we passed through
that square, there was always the same spellbound circle of
half-clad Turks and Arabs squatting silent while "Wagner"
tinkled to them on a three-stringed lute and chanted in a
high-pitched, dismal whine - like the squeaking of an
unfastened door in the wind.  At times, for no apparent
reason, the never-varying, never-ending measure would be
interrupted by a flutter of applause, but his audience
remained mostly sunk in a hypnotic apathy.  I never see a
"Ring" audience now without thinking of that scene outside the
Bab-el-Marsa gate, which has led me to ask different people
just what sensations serious music produced upon them.  The
answers have been varied and interesting.  One good lady who
rarely misses a German opera confessed that sweet sounds acted
upon her like opium.  Neither scenery nor acting nor plot were
of any importance.  From the first notes of the overture to
the end, she floated in an ecstatic dream, oblivious of time
and place.  When it was over she came back to herself faint
with fatigue.  Another professed lover of Wagner said that his
greatest pleasure was in following the different "motives" as
they recurred in the music.  My faith in that gentleman was
shaken, however, when I found the other evening that he had
mistaken Van Dyck for Jean de Reszke through an entire
performance.  He may be a dab at recognizing his friends the
"motives," but his discoveries don't apparently go as far as
tenors!

No one doubts that hundreds of people unaffectedly love German
opera, but that as many affect to appreciate it in order to
appear intellectual is certain.

Once upon a time the unworthy member of an ultra-serious
"Browning" class in this city, doubting the sincerity of her
companions, asked permission to read them a poem of the
master's which she found beyond her comprehension.  When the
reading was over the opinion of her friends was unanimous.
"Nothing could be simpler!  The lines were lucidity itself!
Such close reasoning etc."  But dismay fell upon them when the
naughty lady announced, with a peal of laughter, that she had
been reading alternate lines from opposite pages.  She no
longer disturbs the harmony of that circle!

Bearing this tale in mind, I once asked a musician what
proportion of the audience at a "Ring" performance he thought
would know if alternate scenes were given from two of Wagner's
operas, unless the scenery enlightened them.  His estimate was
that perhaps fifty per cent might find out the fraud.  He put
the number of people who could give an intelligent account of
those plots at about thirty per hundred.

The popularity of music, he added, is largely due to the fact
that it saves people the trouble of thinking.  Pleasant sounds
soothe the nerves, and, if prolonged long enough in a darkened
room will, like the Eastern tom-toms, lull the senses into a
mild form of trance.  This must be what the gentleman meant
who said he wished he could sleep as well in a "Wagner" car as
he did at one of his operas!

Being a tailless old fox, I look with ever-increasing
suspicion on the too-luxuriant caudal appendages of my
neighbors, and think with amusement of the multitudes who
during the last ten years have sacrificed themselves upon the
altar of grand opera - simple, kindly souls, with little or no
taste for classical music, who have sat in the dark (mentally
and physically), applauding what they didn't understand, and
listening to vague German mythology set to sounds that appear
to us outsiders like music sunk into a verbose dotage.  I am
convinced the greater number would have preferred a jolly
performance of MME. ANGOT or the CLOCHES DE CORNEVILLE, cut in
two by a good ballet.

It is, however, so easy to be mistaken on subjects of this
kind that generalizing is dangerous.  Many great authorities
have liked tuneless music.  One of the most telling arguments
in its favor was recently advanced by a foreigner.  The
Chinese ambassador told us last winter in a club at Washington
that Wagner's was the only European music that he appreciated
and enjoyed.  "You see," he added, "music is a much older art
with us than in Europe, and has naturally reached a far
greater perfection.  The German school has made a long step in
advance, and I can now foresee a day not far distant when,
under its influence, your music will closely resemble our
own."




Chapter 16 - The Poetic CABARETS of Paris


THOSE who have not lived in France can form little idea of the
important place the CAFE occupies in the life of an average
Frenchman, clubs as we know them or as they exist in England
being rare, and when found being, with few exceptions, but
gambling-houses in disguise.  As a Frenchman rarely asks an
acquaintance, or even a friend, to his apartment, the CAFE has
become the common ground where all meet, for business or
pleasure.  Not in Paris only, but all over France, in every
garrison town, provincial city, or tiny village, the CAFE is
the chief attraction, the centre of thought, the focus toward
which all the rays of masculine existence converge.

For the student, newly arrived from the provinces, to whose
modest purse the theatres and other places of amusement are
practically closed, the CAFE is a supreme resource.  His mind
is moulded, his ideas and opinions formed, more by what he
hears and sees there than by any other influence.  A
restaurant is of little importance.  One may eat anywhere.
But the choice of his CAFE will often give the bent to a young
man's career, and indicate his exact shade of politics and his
opinions on literature, music, or art.  In Paris, to know a
man at all is to know where you can find him at the hour of
the APERITIF - what Baudelaire called


L'HEURE SAINTE
DE L'ABSINTHE.


When young men form a society among themselves, a CAFE is
chosen as their meeting-place.  Thousands of establishments
exist only by such patronage, as, for example, the Cafe de la
Regence, Place du Theatre Francais, which is frequented
entirely by men who play chess.

Business men transact their affairs as much over their coffee
as in their offices.  The reading man finds at his CAFE the
daily and weekly papers; a writer is sure of the undisturbed
possession of pen, ink, and paper.  Henri Murger, the author,
when asked once why he continued to patronize a certain
establishment notorious for the inferior quality of its beer,
answered, "Yes, the beer is poor, but they keep such good
INK!"

The use of a CAFE does not imply any great expenditure, a
CONSUMMATION costing but little.  With it is acquired the
right to use the establishment for an indefinite number of
hours, the client being warmed, lighted, and served.  From
five to seven, and again after dinner, the HABITUES stroll in,
grouping themselves about the small tables, each new-comer
joining a congenial circle, ordering his drink, and settling
himself for a long sitting.  The last editorial, the newest
picture, or the fall of a ministry is discussed with a
vehemence and an interest unknown to Anglo-Saxon natures.
Suddenly, in the excitement of the discussion, some one will
rise in his place and begin speaking.  If you happen to drop
in at that moment, the lady at the desk will welcome you with,
"You are just in time!  Monsieur So-and-So is speaking; the
evening promises to be interesting."  She is charmed; her
establishment will shine with a reflected light, and new
patrons be drawn there, if the debates are brilliant.  So
universal is this custom that there is hardly an orator to-day
at the French bar or in the Senate, who has not broken his
first lance in some such obscure tournament, under the smiling
glances of the DAME DU COMPTOIR.

Opposite the Palace of the Luxembourg, in the heart of the old
Latin Quarter, stands a quaint building, half hotel, half
CAFE, where many years ago Joseph II. resided while visiting
his sister, Marie Antoinette.  It is known now as Foyot's;
this name must awaken many happy memories in the hearts of
American students, for it was long their favorite meeting-
place.  In the early seventies a club, formed among the
literary and poetic youth of Paris, selected Foyot's as their
"home" during the winter months.  Their summer vacations were
spent in visiting the university towns of France, reciting
verses, or acting in original plays at Nancy, Bordeaux, Lyons,
or Caen.  The enthusiasm these youthful performances created
inspired one of their number with the idea of creating in
Paris, on a permanent footing, a centre where a limited public
could meet the young poets of the day and hear them recite
their verses and monologues in an informal way.

The success of the original "Chat Noir," the first CABARET of
this kind, was largely owing to the sympathetic and attractive
nature of its founder, young Salis, who drew around him, by
his sunny disposition, shy personalities who, but for him,
would still be "mute, inglorious Miltons."  Under his kindly
and discriminating rule many a successful literary career has
started.  Salis's gifted nature combined a delicate taste and
critical acumen with a rare business ability.  His first
venture, an obscure little CAFE on the Boulevard Rochechouart,
in the outlying quarter beyond the Place Pigalle, quickly
became famous, its ever-increasing vogue forcing its happy
proprietor to seek more commodious quarters in the rue Victor
Masse, where the world-famous "Chat Noir" was installed with
much pomp and many joyous ceremonies.

The old word CABARET, corresponding closely to our English
"inn," was chosen, and the establishment decorated in
imitation of a Louis XIII. HOTELLERIE.  Oaken beams supported
the low-studded ceilings: The plaster walls disappeared behind
tapestries, armor, old FAIENCE.  Beer and other liquids were
served in quaint porcelain or pewter mugs, and the waiters
were dressed (merry anachronism) in the costume of members of
the Institute (the Immortal Forty), who had so long led poetry
in chains.  The success of the "Black Cat" in her new quarters
was immense, all Paris crowding through her modest doors.
Salis had founded Montmartre! - the rugged old hill giving
birth to a generation of writers and poets, and nourishing
this new school at her granite breasts.

It would be difficult to imagine a form of entertainment more
tempting than was offered in this picturesque inn.  In
addition to the first, the entire second floor of the building
had been thrown into one large room, the walls covered with a
thousand sketches, caricatures, and crayon drawings by hands
since celebrated the world over.  A piano, with many chairs
and tables, completed the unpretending installation.  Here,
during a couple of hours each evening, either by the piano or
simply standing in their places, the young poets gave
utterance to the creations of their imagination, the musicians
played their latest inspirations, the RACONTEUR told his
newest story.  They called each other and the better known
among the guests by their names, and joked mutual weaknesses,
eliminating from these gatherings every shade of a perfunctory
performance.

It is impossible to give an idea of the delicate flavor of
such informal evenings - the sensation of being at home that
the picturesque surroundings produced, the low murmur of
conversation, the clink of glasses, the swing of the waltz
movement played by a master hand, interrupted only when some
slender form would lean against the piano and pour forth
burning words of infinite pathos, - the inspired young face
lighted up by the passion and power of the lines.  The burst
of applause that his talent called forth would hardly have
died away before another figure would take the poet's place, a
wave of laughter welcoming the new-comer, whose twinkling eyes
and demure smile promised a treat of fun and humor.  So the
evening would wear gayly to its end, the younger element in
the audience, full of the future, drinking in long draughts of
poetry and art, the elders charmed to live over again the days
of their youth and feel in touch once more with the present.

In this world of routine and conventions an innovation as
brilliantly successful as this could hardly be inaugurated
without raising a whirlwind of jealousy and opposition.  The
struggle was long and arduous.  Directors of theatres and
concert halls, furious to see a part of their public tempted
away, raised the cry of immorality against the new-comers, and
called to their aid every resource of law and chicanery.  At
the end of the first year Salis found himself with over eight
hundred summonses and lawsuits on his hands.  After having
made every effort, knocked at every door, in his struggle for
existence, he finally conceived the happy thought of appealing
directly to Grevy, then President of the Republic, and in his
audience with the latter succeeded in charming and interesting
him, as he had so many others.  The influence of the head of
the state once brought to bear on the affair, Salis had the
joy of seeing opposition crushed and the storm blow itself
out.

From this moment, the poets, feeling themselves appreciated
and their rights acknowledged and defended, flocked to the
"Sacred Mountain," as Montmartre began to be called; other
establishments of the same character sprang up in the
neighborhood.  Most important among these were the "4 z'Arts,"
Boulevard de Clichy, the "Tambourin," and La Butte.

Trombert, who, together with Fragerolle, Goudezki, and Marcel
Lefevre, had just ended an artistic voyage in the south of
France, opened the "4 z'Arts," to which the novelty-loving
public quickly found its way, crowding to applaud Coquelin
CADET, Fragson, and other budding celebrities.  It was here
that the poets first had the idea of producing a piece in
which rival CABARETS were reviewed and laughingly criticised.
The success was beyond all precedent, in spite of the
difficulty of giving a play without a stage, without scenery
or accessories of any kind, the interest centring in the
talent with which the lines were declaimed by their authors,
who next had the pleasant thought of passing in review the
different classes of popular songs, Clovis Hugues, at the same
time poet and statesman, discoursing on each subject, and
introducing the singer; Brittany local songs, Provencal
ballads, ant the half Spanish, half French CHANSONS of the
Pyrenees were sung or recited by local poets with the charm
and abandon of their distinctive races.

The great critics did not disdain to attend these informal
gatherings, nor to write columns of serious criticism on the
subject in their papers.

At the hour when all Paris takes its APERITIF the "4 z'Arts"
became the meeting-place of the painters, poets, and writers
of the day.  Montmartre gradually replaced the old Latin
Quarter; it is there to-day that one must seek for the gayety
and humor, the pathos and the makeshifts of Bohemia.

The "4 z'Arts," next to the "Chat Noir," has had the greatest
influence on the taste of our time, - the pleiad of poets that
grouped themselves around it in the beginning, dispersing
later to form other centres, which, in their turn, were to
influence the minds and moods of thousands.

Another charming form of entertainment inaugurated by this
group of men is that of "shadow pictures," conceived
originally by Caran d'Ache, and carried by him to a marvellous
perfection.  A medium-sized frame filled with ground glass is
suspended at one end of a room and surrounded by sombre
draperies.  The room is darkened; against the luminous
background of the glass appear small black groups (shadows
cast by figures cut out of cardboard).  These figures move,
advancing and retreating, grouping or separating themselves to
the cadence of the poet's verses, for which they form the most
original and striking illustrations.  Entire poems are given
accompanied by these shadow pictures.

One of Caran d'Ache's greatest successes in this line was an
EPOPEE DE NAPOLEON, - the great Emperor appearing on foot and
on horseback, the long lines of his army passing before him in
the foreground or small in the distance.  They stormed
heights, cheered on by his presence, or formed hollow squares
to repulse the enemy.  During their evolutions, the clear
voice of the poet rang out from the darkness with thrilling
effect.

The nicest art is necessary to cut these little figures to the
required perfection.  So great was the talent of their
inventor that, when he gave burlesques of the topics of the
day, or presented the celebrities of the hour to his public,
each figure would be recognized with a burst of delighted
applause.  The great Sarah was represented in poses of
infinite humor, surrounded by her menagerie or receiving the
homage of the universe.  Political leaders, foreign
sovereigns, social and operatic stars, were made to pass
before a laughing public.  None were spared.  Paris went mad
with delight at this new "art," and for months it was
impossible to find a seat vacant in the hall.

At the Boite a Musique, the idea was further developed.  By an
ingenious arrangement of lights, of which the secret has been
carefully kept, landscapes are represented in color; all the
gradations of light are given, from the varied twilight hues
to purple night, until the moon, rising, lights anew the
picture.  During all these variations of color little groups
continue to come and go, acting out the story of a poem, which
the poet delivers from the surrounding obscurity as only an
author can render his own lines.

One of the pillars of this attractive centre was Jules Jouy,
who made a large place for himself in the hearts of his
contemporaries - a true poet, whom neither privations nor the
difficult beginnings of an unknown writer could turn from his
vocation.  His songs are alternately tender, gay, and bitingly
sarcastic.  Some of his better-known ballads were written for
and marvellously interpreted by Yvette Guilbert.  The
difficult critics, Sarcey and Jules Lemaitre, have sounded his
praise again and again.

A CABARET of another kind which enjoyed much celebrity, more
on account of the personality of the poet who founded it than
from any originality or picturesqueness in its intallation,
was the "Mirliton," opened by Aristide Bruant in the little
rooms that had sheltered the original "Chat Noir."

To give an account of the "Mirliton" is to tell the story of
Bruant, the most popular ballad-writer in France to-day.  This
original and eccentric poet is as well-known to a Parisian as
the boulevards or the Arc de Triomphe.  His costume of shabby
black velvet, Brittany waistcoat, red shirt, top-boots, and
enormous hat is a familiar feature in the caricatures and
prints of the day.  His little CABARET remains closed during
the day, opening its doors toward evening.  The personality of
the ballad-writer pervades the atmosphere.  He walks about the
tiny place hailing his acquaintances with some gay epigram,
receiving strangers with easy familiarity or chilling disdain,
as the humor takes him; then in a moment, with a rapid change
of expression, pouring out the ringing lines of one of his
ballads - always the story of the poor and humble, for he has
identified himself with the outcast and the disinherited.  His
volumes DANS LA RUE and SUR LA ROUTE have had an enormous
popularity, their contents being known and sung all over
France.

In 1892 Bruant was received as a member of the society of GENS
DE LETTRES.  It may be of interest to recall a part of the
speech made by Francois Coppee on the occasion: "It is with
the greatest pleasure that I present to my confreres my good
friend, the ballad-writer, Aristide Bruant.  I value highly
the author of DANS LA RUE.  When I close his volume of sad and
caustic verses it is with the consoling thought that even vice
and crime have their conscience: that if there is suffering
there is a possible redemption.  He has sought his inspiration
in the gutter, it is true, but he has seen there a reflection
of the stars."

In the Avenue Trudaine, not far from the other CABARETS, the
"Ane Rouge" was next opened, in a quiet corner of the immense
suburb, its shady-little garden, on which the rooms open,
making it a favorite meeting-place during the warm months.  Of
a summer evening no more congenial spot can be found in all
Paris.  The quaint chambers have been covered with mural
paintings or charcoal caricatures of the poets themselves, or
of familiar faces among the clients and patrons of the place.

One of the many talents that clustered around this quiet
little garden was the brilliant Paul Verlaine, the most
Bohemian of all inhabitants of modern Prague, whose death has
left a void, difficult to fill.  Fame and honors came too
late.  He died in destitution, if not absolutely of hunger;
to-day his admirers are erecting a bronze bust of him in the
Garden of the Luxembourg, with money that would have gone far
toward making his life happy.

In the old hotel of the Lesdiguieres family, rue de la Tour
d'Auvergne, the "Carillon" opened its doors in 1893, and
quickly conquered a place in the public favor, the inimitable
fun and spirits of Tiercy drawing crowds to the place.

The famous "Treteau de Tabarin," which today holds undisputed
precedence over all the CABARETS of Paris, was among the last
to appear.  It was founded by the brilliant Fursy and a group
of his friends.  Here no pains have been spared to form a
setting worthy of the poets and their public.

Many years ago, in the days of the good king Louis XIII., a
strolling poet-actor, Tabarin, erected his little canvas-
covered stage before the statue of Henry IV., on the Pont-
Neuf, and drew the court and the town by his fun and pathos.
The founders of the latest and most complete of Parisian
CABARETS have reconstructed, as far as possible, this historic
scene.  On the wall of the room where the performances are
given, is painted a view of old Paris, the Seine and its
bridges, the towers of Notre Dame in the distance, and the
statue of Louis XIII.'s warlike father in the foreground.  In
front of this painting stands a staging of rough planks,
reproducing the little theatre of Tabarin.  Here, every
evening, the authors and poets play in their own pieces,
recite their verses, and tell their stories.  Not long ago a
young musician, who has already given an opera to the world,
sang an entire one-act operetta of his composition, changing
his voice for the different parts, imitating choruses by
clever effects on the piano.

Montmartre is now sprinkled with attractive CABARETS, the
taste of the public for such informal entertainments having
grown each year; with reason, for the careless grace of the
surroundings, the absence of any useless restraint or
obligation as to hour or duration, has a charm for thousands
whom a long concert or the inevitable five acts at the
Francais could not tempt.  It would be difficult to overrate
the influence such an atmosphere, breathed in youth, must have
on the taste and character.  The absence of a sordid spirit,
the curse of our material day and generation, the contact with
intellects trained to incase their thoughts in serried verse
or crisp and lucid prose, cannot but form the hearer's mind
into a higher and better mould.  It is both a satisfaction and
a hope for the future to know that these influences are being
felt all over the capital and throughout the length and
breadth of France.  There are at this moment in Paris alone
three or four hundred poets, ballad writers, and RACONTEURS
who recite their works in public.

It must be hard for the untravelled Anglo-Saxon to grasp the
idea that a poet can, without loss of prestige, recite his
lines in a public CAFE before a mixed audience.  If such
doubting souls could, however, be present at one of these
NOCTES AMBROSIANAE, they would acknowledge that the Latin
temperament can throw a grace and child-like abandon around an
act that would cause an Englishman or an American to appear
supremely ridiculous.  One's taste and sense of fitness are
never shocked.  It seems the most natural thing in the world
to be sitting with your glass of beer before you, while some
rising poet, whose name ten years later may figure among the
"Immortal Forty," tells to you his loves and his ambition, or
brings tears into your eyes with a description of some humble
hero or martyr.

From the days of Homer poetry has been the instructor of
nations.  In the Orient to-day the poet story-teller holds his
audience spellbound for hours, teaching the people their
history and supplying their minds with food for thought,
raising them above the dull level of the brutes by the charm
of his verse and the elevation of his ideas.  The power of
poetry is the same now as three thousand years ago.  Modern
skeptical Paris, that scoffs at all creeds and chafes
impatiently under any rule, will sit to-day docile and
complaisant, charmed by the melody of a poet's voice; its
passions lulled or quickened, like Alexander's of old, at the
will of a modern Timotheus.




Chapter 17 - Etiquette At Home and Abroad


READING that a sentinel had been punished the other day at St.
Petersburg for having omitted to present arms, as her Imperial
Highness, the Grand Duchess Olga, was leaving the winter
palace - in her nurse's arms - I smiled at what appeared to be
needless punctilio; then, as is my habit, began turning the
subject over, and gradually came to the conclusion that while
it could doubtless be well to suppress much of the ceremonial
encumbering court life, it might not be amiss if we engrafted
a little more etiquette into our intercourse with strangers
and the home relations.  In our dear free and easy-going
country there is a constant tendency to loosen the ties of
fireside etiquette until any manners are thought good enough,
as any toilet is considered sufficiently attractive for home
use.  A singular impression has grown up that formal
politeness and the saying of gracious and complimentary things
betray the toady and the hypocrite, both if whom are abhorrent
to Americans.

By the force of circumstances most people are civil enough in
general society; while many fail to keep to their high
standard in the intimacy of home life and in their intercourse
with inferiors, which is a pity, as these are the two cases
where self-restraint and amenity are most required.
Politeness is, after all, but the dictate of a kind heart, and
supplies the oil necessary to make the social machinery run
smoothly.  In home life, which is the association during many
hours each day of people of varying dispositions, views, and
occupations, friction is inevitable; and there is especial
need of lubrication to lessen the wear and tear and eliminate
jarring.

Americans are always much shocked to learn that we are not
popular on the Continent.  Such a discovery comes to either a
nation or an individual like a douche of cold water on nice,
warm conceit, and brings with it a feeling of discouragement,
of being unjustly treated, that is painful, for we are very
"touchy" in America, and cry out when a foreigner expresses
anything but admiration for our ways, yet we are the last to
lend ourselves to foreign customs.

It has been a home thrust for many of us to find that our dear
friends the French sympathized warmly with Spain in the recent
struggle, and had little but sneers for us.  One of the
reasons for this partiality is not hard to discover.

The Spanish who travel are mostly members of an aristocracy
celebrated for its grave courtesy, which has gone a long way
toward making them popular on the Continent, while we have for
years been riding rough-shod over the feelings and prejudices
of the European peoples, under the pleasing but fallacious
illusion that the money we spent so lavishly in foreign lands
would atone for all our sins.  The large majority of our
travelling compatriots forget that an elaborate etiquette
exists abroad regulating the intercourse between one class and
another, the result of centuries of civilization, and as the
Medic and Persian laws for durability.  In our ignorance we
break many of these social laws and give offence where none
was intended.

A single illustration will explain my meaning.  A young
American girl once went to the mistress of a PENSION where she
was staying and complained that the CONCIERGE of the house had
been impertinent.  When the proprietress asked the CONCIERGE
what this meant, the latter burst out with her wrongs.  "Since
Miss B. has been in this house, she has never once bowed to
me, or addressed a word to either my husband or myself that
was not a question or an order; she walks in and out of my
LOGE to look for letters or take her key as though my room
were the street; I won't stand such treatment from any one,
much less from a girl.  The duchess who lives AU QUATRIEME
never passes without a kind word or an inquiry after the
children or my health."

Now this American girl had erred through ignorance of the fact
that in France servants are treated as humble friends.  The
man who brings your matutinal coffee says "Good morning" on
entering the room, and inquires if "Monsieur has slept well,"
expecting to be treated with the same politeness he shows to
you.

The lady who sits at the CAISSE of the restaurant you frequent
is as sure of her position as her customers are of theirs, and
exacts a courteous salutation from every one entering or
leaving her presence; logically, for no gentleman would enter
a ladies' drawing-room without removing his hat.  The fact
that a woman is obliged to keep a shop in no way relieves him
of this obligation.

People on the Continent know their friends' servants by name,
and speak to them on arriving at a house, and thank them for
an opened door or offered coat; if a tip is given it is
accompanied by a gracious word.  So rare is this form of
civility in America and England (for Britons err as gravely in
this matter as ourselves) that our servants are surprised and
inclined to resent politeness, as in the case of an English
butler who recently came to his master and said he should be
"obliged to leave."  On being questioned it came out that one
of the guests was in the habit of chatting with him, "and,"
added the Briton, "I won't stand being took liberties with by
no one."

Some years ago I happened to be standing in the vestibule of
the Hotel Bristol as the Princess of Wales and her daughters
were leaving.  Mr. Morlock, the proprietor, was at the foot of
the stairs to take leave of those ladies, who shook hands with
and thanked him for his attention during their stay, and for
the flowers he had sent.  Nothing could have been more
gracious and freer from condescension than their manner, and
it undoubtedly produced the best impression.  The waiter who
served me at that time was also under their charm, and
remarked several times that "there had never been ladies so
easy to please or so considerate of the servants."

My neighbor at dinner the other evening confided to me that
she was "worn out being fitted."  "I had such an unpleasant
experience this morning," she added.  "The JUPIERE could not
get one of my skirts to hang properly.  After a dozen attempts
I told her to send for the forewoman, when, to my horror, the
girl burst out crying, and said she should lose her place if I
did.  I was very sorry for her, but what else could I do?"  It
does not seem as if that lady could be very popular with
inferiors, does it?

That it needs a lighter hand and more tact to deal with
tradespeople than with equals is certain, and we are sure to
be the losers when we fail.  The last time I was in the East a
friend took me into the bazaars to see a carpet he was anxious
to buy.  The price asked was out of all proportion to its
value, but we were gravely invited by the merchant to be
seated and coffee was served, that bargaining (which is the
backbone of Oriental trade) might be carried on at leisure.
My friend, nervous and impatient, like all our race, turned to
me and said, "What's all this tomfoolery?  Tell him I'll give
so much for his carpet; he can take it or leave it."  When
this was interpreted to the bearded tradesman, he smiled and
came down a few dollars in his price, and ordered more coffee.
By this time we were outside his shop, and left without the
carpet simply because my friend could not conform to the
customs of the country he was visiting.  The sale of his
carpet was a big affair for the Oriental; he intended to carry
it through with all the ceremony the occasion required, and
would sooner not make a sale than be hustled out of his
stately routine.

It is not only in intercourse with inferiors that tact is
required.  The treatment of children and young people in a
family calls for delicate handling.  The habit of taking
liberties with young relations is a common form of a relaxed
social code and the besetting sin of elderly people, who,
having little to interest them in their own lives, imagine
that their mission is to reform the ways and manners of their
family.  Ensconced behind the respect which the young are
supposed to pay them, they give free vent to inclination, and
carp, cavil, and correct.  The victims may have reached
maturity or even middle age, but remain always children to
these social policemen, to be reproved and instructed in and
out of season.  "I am doing this for your own good," is an
excuse that apparently frees the veterans from the necessity
of respecting the prejudices and feelings of their pupils, and
lends a gloss of unselfishness to actions which are simply
impertinent.  Oddly enough, amateur "schoolmarms" who fall
into this unpleasant habit are generally oversensitive, and
resent as a personal affront any restlessness under criticism
on the part of their victims.  It is easy, once the habit is
acquired, to carry the suavity and consideration of general
society into the home circle, yet how often is it done?  I
should like to see the principle that ordered presentation of
arms to the infant princess applied to our intimate relations,
and the rights of the young and dependent scrupulously
respected.

In the third act of CASTE, when old Eccles steals the "coral"
from his grandson's neck, he excuses the theft by a
grandiloquent soliloquy, and persuades himself that he is
protecting "the weak and the humble" (pointing to himself)
"against the powerful and the strong" (pointing to the baby).
Alas, too many of us take liberties with those whom we do not
fear, and excuse our little acts of cowardice with arguments
as fallacious as those of drunken old Eccles.




Chapter 18 - What is "Art"?


IN former years, we inquiring youngsters in foreign studios
were much bewildered by the repetition of a certain phrase.
Discussion of almost any picture or statue was (after other
forms of criticism had been exhausted) pretty sure to conclude
with, "It's all very well in its way, but it's not Art."  Not
only foolish youths but the "masters" themselves constantly
advanced this opinion to crush a rival or belittle a friend.
To ardent minds seeking for the light and catching at every
thread that might serve as a guide out of perplexity, this
vague assertion was confusing.  According to one master, the
eighteenth-century "school" did not exist.  What had been
produced at that time was pleasing enough to the eye, but "was
not Art!"  In the opinion of another, Italian music might
amuse or cheer the ignorant, but could not be recognized by
serious musicians.

As most of us were living far from home and friends for the
purpose of acquiring the rudiments of art, this continual
sweeping away of our foundations was discouraging.  What was
the use, we sometimes asked ourselves, of toiling, if our work
was to be cast contemptuously aside by the next "school" as a
pleasing trifle, not for a moment to be taken seriously?  How
was one to find out the truth?  Who was to decide when doctors
disagreed?  Where was the rock on which an earnest student
might lay his cornerstone without the misgiving that the next
wave in public opinion would sap its base and cast him and his
ideals out again at sea?

The eighteenth-century artists and the Italian composers had
been sincere and convinced that they were producing works of
art.  In our own day the idol of one moment becomes the jest
of the next.  Was there, then, no fixed law?

The short period, for instance, between 1875 and the present
time has been long enough for the talent of one painter
(Bastien-Lepage) to be discovered, discussed, lauded,
acclaimed, then gradually forgotten and decried.  During the
years when we were studying in Paris, that young painter's
works were pronounced by the critics and their following to be
the last development of Art.  Museums and amateurs vied with
each other in acquiring his canvases.  Yet, only this spring,
while dining with two or three art critics in the French
capital, I heard Lepage's name mentioned and his works
recalled with the smile that is accorded to those who have
hoodwinked the public and passed off spurious material as the
real thing.

If any one doubts the fleeting nature of a reputation, let him
go to a sale of modern pictures and note the prices brought by
the favorites of twenty years ago.  The paintings of that
arch-priest, Meissonier, no longer command the sums that eager
collectors paid for them a score of years back.  When a great
European critic dares assert, as one has recently, of the
master's "1815," that "everything in the picture appears
metallic, except the cannon and the men's helmets," the mighty
are indeed fallen!  It is much the same thing with the old
masters.  There have been fashions in them as in other forms
of art.  Fifty years ago Rembrandt's work brought but small
prices, and until Henri Rochefort (during his exile) began to
write up the English school, Romneys, Lawrences, and
Gainsboroughs had little market value.

The result is that most of us are as far away from the
solution of that vexed question "What is Art?" at forty as we
were when boys.  The majority have arranged a compromise with
their consciences.  We have found out what we like (in itself
no mean achievement), and beyond such personal preference, are
shy of asserting (as we were fond of doing formerly) that such
and such works are "Art," and such others, while pleasing and
popular, lack the requisite qualities.

To enquiring minds, sure that an answer to this question
exists, but uncertain where to look for it, the fact that one
of the thinkers of the century has, in a recent "Evangel,"
given to the world a definition of "Art," the result of many
years' meditation, will be received with joy.  "Art," says
Tolstoi, "is simply a condition of life.  It is any form of
expression that a human being employs to communicate an
emotion he has experienced to a fellow-mortal."

An author who, in telling his hopes and sorrows, amuses or
saddens a reader, has in just so much produced a work of art.
A lover who, by the sincerity of his accent, communicates the
flame that is consuming him to the object of his adoration;
the shopkeeper who inspires a purchaser with his own
admiration for an object on sale; the baby that makes its joy
known to a parent - artists! artists!  Brown, Jones, or
Robinson, the moment he has consciously produced on a
neighbor's ear or eye the sensation that a sound or a
combination of colors has effected on his own organs, is an
artist!

Of course much of this has been recognized through all time.
The formula in which Tolstoi has presented his meditations to
the world is, however, so fresh that it comes like a
revelation, with the additional merit of being understood,
with little or no mental effort, by either the casual reader,
who, with half-attention attracted by a headline, says to
himself, "`What is art?'  That looks interesting!" and skims
lightly down the lines, or the thinker who, after perusing
Tolstoi's lucid words, lays down the volume with a sigh, and
murmurs in his humiliation, "Why have I been all these years
seeking in the clouds for what was lying ready at my hand?"

The wide-reaching definition of the Russian writer has the
effect of a vigorous blow from a pickaxe at the foundations of
a shaky and too elaborate edifice.  The wordy superstructure
of aphorisms and paradox falls to the ground, disclosing fair
"Truth," so long a captive within the temple erected in her
honor.  As, however, the newly freed goddess smiles on the
ignorant and the pedants alike, the result is that with one
accord the aesthetes raise a howl!  "And the `beautiful,'"
they say, "the beautiful?  Can there be any `Art' without the
`Beautiful'?  What! the little greengrocer at the corner is an
artist because, forsooth, he has arranged some lettuce and
tomatoes into a tempting pile!  Anathema!  Art is a secret
known only to the initiated few; the vulgar can neither
understand nor appreciate it!  We are the elect!  Our mission
is to explain what Art is and point out her beauty to a coarse
and heedless world.  Only those with a sense of the
`beautiful' should be allowed to enter into her sacred
presence."

Here the expounders of "Art" plunge into a sea of words,
offering a dozen definitions each more obscure than its
predecessor, all of which have served in turn as watchwords of
different "schools."  Tolstoi's sweeping truth is too far-
reaching to please these gentry.  Like the priests of past
religions, they would have preferred to keep such knowledge as
they had to themselves and expound it, little at a time, to
the ignorant.  The great Russian has kicked away their altar
and routed the false gods, whose acolytes will never forgive
him.

Those of my readers who have been intimate with painters,
actors, or musicians, will recall with amusement how lightly
the performances of an associate are condemned by the
brotherhood as falling short of the high standard which
according to these wiseacres, "Art" exacts, and how sure each
speaker is of understanding just where a brother carries his
"mote."

Voltaire once avoided giving a definition of the beautiful by
saying, "Ask a toad what his ideas of beauty are.  He will
indicate the particular female toad he happens to admire and
praise her goggle-eyes and yellow belly as the perfection of
beauty!"  A negro from Guiana will make much the same
unsatisfactory answer, so the old philosopher recommends us
not to be didactic on subjects where judgments are relative,
and at the same time without appeal.

Tolstoi denies that an idea as subtle as a definition of Art
can be classified by pedants, and proceeds to formulate the
following delightful axiom: "A principle upon which no two
people can agree does not exist."  A truth is proved by its
evidence to all.  Discussion outside of that is simply beating
the air.  Each succeeding "school" has sounded its death-knell
by asserting that certain combinations alone produced beauty -
the weakness of to-day being an inclination to see art only in
the obscure and the recondite.  As a result we drift each hour
further from the truth.  Modern intellectuality has formed
itself into a scornful aristocracy whose members, esteeming
themselves the elite, withdraw from the vulgar public, and
live in a world of their own, looking (like the Lady of
Shalott) into a mirror at distorted images of nature and
declaring that what they see is art!

In literature that which is difficult to understand is much
admired by the simple-minded, who also decry pictures that
tell their own story!  A certain class of minds enjoy being
mystified, and in consequence writers, painters, and musicians
have appeared who are willing to juggle for their amusement.
The simple definition given to us by the Russian writer comes
like a breath of wholesome air to those suffocating in an
atmosphere of perfumes and artificial heat.  Art is our common
inheritance, not the property of a favored few.  The wide
world we love is full of it, and each of us in his humble way
is an artist when with a full heart he communicates his
delight and his joy to another.  Tolstoi has given us back our
birthright, so long withheld, and crowned with his aged hands
the true artist.




Chapter 19 - The Genealogical Craze


THERE undoubtedly is something in the American temperament
that prevents our doing anything in moderation.  If we take up
an idea, it is immediately run to exaggeration and then
abandoned, that the nation may fly at a tangent after some new
fad.  Does this come from our climate, or (as I am inclined to
think) from the curiously unclassified state of society in our
country, where so few established standards exist and so few
are sure of their own or their neighbors' standing?  In
consequence, if Mrs. Brown starts anything, Mrs. Jones, for
fear of being left behind, immediately "goes her one better"
to be in turn "raised" by Mrs. Robinson.

In other lands a reasonable pride of birth has always been one
of the bonds holding communities together, and is estimated at
its just value.  We, after having practically ignored the
subject for half a century, suddenly rush to the other
extreme, and develop an entire forest of genealogical trees at
a growth.

Chagrined, probably, at the small amount of consideration that
their superior birth commanded, a number of aristocratically
minded matrons united a few years ago as "Daughters of the
Revolution," restricting membership to women descended from
officers of Washington's army.  There may have been a reason
for the formation of this society.  I say "may" because it
does not seem quite clear what its aim was.  The originators
doubtless imagined they were founding an exclusive circle, but
the numbers who clamored for admittance quickly dispelled this
illusion.  So a small group of the elect withdrew in disgust
and banded together under the cognomen of "Colonial Dames."

The only result of these two movements was to awaken envy,
hatred, and malice in the hearts of those excluded from the
mysterious rites, which to outsiders seemed to consist in
blackballing as many aspirants as possible.  Some victims of
this bad treatment, thirsting for revenge, struck on the happy
thought of inaugurating an "Aztec" society.  As that title
conveyed absolutely no idea to any one, its members were
forced to explain that only descendants of officers who fought
in the Mexican War were eligible.  What the elect did when
they got into the circle was not specified.

The "Social Order of Foreign Wars" was the next creation, its
authors evidently considering the Mexican campaign as a
domestic article, a sort of family squabble.  Then the
"Children of 1812" attracted attention, both groups having
immediate success.  Indeed, the vogue of these enterprises has
been in inverse ratio to their usefulness or RAISON D'ETRE,
people apparently being ready to join anything rather than get
left out in the cold.

Jealous probably of seeing women enjoying all the fun, their
husbands and brothers next banded together as "Sons of the
Revolution."  The wives retaliated by instituting the
"Granddaughters of the Revolution" and "The Mayflower Order,"
the "price of admission" to the latter being descent from some
one who crossed in that celebrated ship - whether as one of
the crew or as passenger is not clear.

It was not, however, in the American temperament to rest
content with modest beginnings, the national motto being, "The
best is good enough for me."  So wind was quickly taken out of
the Mayflower's sails by "The Royal Order of the Crown," to
which none need apply who were not prepared to prove descent
from one or more royal ancestors.  It was not stated in the
prospectus whether Irish sovereigns and Fiji Island kings
counted, but I have been told that bar sinisters form a class
apart, and are deprived of the right to vote or hold office.

Descent from any old king was, however, not sufficient for the
high-toned people of our republic.  When you come to think of
it, such a circle might be "mixed." One really must draw the
line somewhere (as the Boston parvenu replied when asked why
he had not invited his brother to a ball).  So the founders of
the "Circle of Holland Dames of the New Netherlands" drew the
line at descent from a sovereign of the Low Countries.  It
does not seem as if this could be a large society, although
those old Dutch pashas had an unconscionable number of
children.

The promoters of this enterprise seem nevertheless to have
been fairly successful, for they gave a fete recently and
crowned a queen.  To be acclaimed their sovereign by a group
of people all of royal birth is indeed an honor.  Rumors of
this ceremony have come to us outsiders.  It is said that they
employed only lineal descendants of Vatel to prepare their
banquet, and I am assured that an offspring of Gambrinus acted
as butler.

But it is wrong to joke on this subject.  The state of affairs
is becoming too serious.  When sane human beings form a
"Baronial Order of Runnymede," and announce in their
prospectus that only descendants through the male line from
one (or more) of the forty noblemen who forced King John to
sign the Magna Charta are what our Washington Mrs. Malaprop
would call "legible," the action attests a diseased condition
of the community.  Any one taking the trouble to remember that
eight of the original barons died childless, and that the Wars
of the Roses swept away nine tenths of what families the
others may have had, that only one man in England (Lord de
Ros) can at the present day PROVE male descent further back
than the eleventh century, must appreciate the absurdity of
our compatriots' pretensions.  Burke's Peerage is acknowledged
to be the most "faked" volume in the English language, but the
descents it attributes are like mathematical demonstrations
compared to the "trees" that members of these new American
orders climb.

When my class was graduated from Mr. McMullen's school, we
little boys had the brilliant idea of uniting in a society,
but were greatly put about for an effective name, hitting
finally upon that of Ancient Seniors' Society.  For a group of
infants, this must be acknowledged to have been a luminous
inspiration.  We had no valid reason for forming that society,
not being particularly fond of each other.  Living in several
cities, we rarely met after leaving school and had little to
say to each other when we did.  But it sounded so fine to be
an "Ancient Senior," and we hoped in our next school to
impress new companions with that title and make them feel
proper respect for us in consequence.  Pride, however,
sustained a fall when it was pointed out that the initials
formed the ominous word "Ass."

I have a shrewd suspicion that the motives which prompted our
youthful actions are not very different from those now
inciting children of a larger growth to band together,
blackball their friends, crown queens, and perform other
senseless mummeries, such as having the weathercock of a
departed meeting-house brought in during a banquet, and
dressing restaurant waiters in knickerbockers for "one night
only."

This malarial condition of our social atmosphere accounts for
the quantity of genealogical quacks that have taken to sending
typewritten letters, stating that the interest they take in
your private affairs compels them to offer proof of your
descent from any crowned head to whom you may have taken a
fancy.  One correspondent assured me only this month that he
had papers in his possession showing beyond a doubt that I
might claim a certain King McDougal of Scotland for an
ancestor.  I have misgivings, however, as to the quality of
the royal blood in my veins, for the same correspondent was
equally confident six months ago that my people came in direct
line from Charlemagne.  As I have no desire to "corner" the
market in kings, these letters have remained unanswered.

Considering the mania to trace descent from illustrious men,
it astonishes me that a Mystic Band, consisting of lineal
descendants from the Seven Sages of Greece, has not before now
burst upon an astonished world.  It has been suggested that if
some one wanted to organize a truly restricted circle, "The
Grandchildren of our Tripoli War" would be an excellent title.
So few Americans took part in that conflict - and still fewer
know anything about it - that the satisfaction of joining the
society would be immense to exclusively-minded people.

There is only one explanation that seems in any way to account
for this vast tomfoolery.  A little sentence, printed at the
bottom of a prospectus recently sent to me, lets the ambitious
cat out of the genealogical bag.  It states that "social
position is assured to people joining our order."  Thanks to
the idiotic habit some newspapers have inaugurated of
advertising, gratis, a number of self-elected society
"leaders," many feeble-minded people, with more ambition than
cash, and a larger supply of family papers than brains, have
been bitten with a social madness, and enter these traps,
thinking they are the road to position and honors.  The number
of fools is larger than one would have believed possible, if
the success of so many "orders," "circles," "commanderies,"
and "regencies" were not there to testify to the unending
folly of the would-be "smart."

This last decade of the century has brought to light many
strange fads and senseless manias.  This "descent" craze,
however, surpasses them all in inanity.  The keepers of insane
asylums will tell you that one of the hopeless forms of
madness is LA FOLIE DES GRANDEURS.  A breath of this delirium
seems to be blowing over our country.  Crowns and sceptres
haunt the dreams of simple republican men and women, troubling
their slumbers and leading them a will-o'-the-wisp dance back
across the centuries.




Chapter 20 - As the Twig is Bent


I KNEW, in my youth, a French village far up among the
Cevennes Mountains, where the one cultivated man of the place,
saddened by the unlovely lives of the peasants around him and
by the bare walls of the village school, organized evening
classes for the boys.  During these informal hours, he talked
to them of literature and art and showed them his prints and
paintings.  When the youths' interest was aroused he lent them
books, that they might read about the statues and buildings
that had attracted their attention.  At first it appeared a
hopeless task to arouse any interest among these peasants in
subjects not bearing on their abject lives.  To talk with boys
of the ideal, when their poor bodies were in need of food and
raiment, seemed superfluous; but in time the charm worked, as
it always will.  The beautiful appealed to their simple
natures, elevating and refining them, and opening before their
eager eyes perspectives of undreamed-of interest.  The self-
imposed task became a delight as his pupils' minds responded
to his efforts.  Although death soon ended his useful life,
the seed planted grew and bore fruit in many humble homes.

At this moment I know men in several walks of life who revere
with touching devotion the memory of the one human being who
had brought to them, at the moment when they were most
impressionable, the gracious message that existence was not
merely a struggle for bread.  The boys he had gathered around
him realize now that the encouragement and incentive received
from those evening glimpses of noble works existing in the
world was the mainspring of their subsequent development and a
source of infinite pleasure through all succeeding years.

This reference to an individual effort toward cultivating the
poor has been made because other delicate spirits are
attempting some such task in our city, where quite as much as
in the French village schoolchildren stand in need of some
message of beauty in addition to the instruction they receive,
- some window opened for them, as it were, upon the fields of
art, that their eyes when raised from study or play may rest
on objects more inspiring than blank walls and the graceless
surroundings of street or schoolroom.

We are far too quick in assuming that love of the beautiful is
confined to the highly educated; that the poor have no desire
to surround themselves with graceful forms and harmonious
colors.  We wonder at and deplore their crude standards,
bewailing the general lack of taste and the gradual reducing
of everything to a commonplace money basis.  We smile at the
efforts toward adornment attempted by the poor, taking it too
readily for granted that on this point they are beyond
redemption.  This error is the less excusable as so little has
been done by way of experiment before forming an opinion, -
whole classes being put down as inferior beings, incapable of
appreciation, before they have been allowed even a glimpse of
the works of art that form the daily mental food of their
judges.

The portly charlady who rules despotically in my chambers is
an example.  It has been a curious study to watch her growing
interest in the objects that have here for the first time come
under her notice; the delight she has come to take in dusting
and arranging my belongings, and her enthusiasm at any new
acquisition.  Knowing how bare her own home was, I felt at
first only astonishment at her vivid interest in what seemed
beyond her comprehension, but now realize that in some blind
way she appreciates the rare and the delicate quite as much as
my more cultivated visitors.  At the end of one laborious
morning, when everything was arranged to her satisfaction, she
turned to me her poor, plain face, lighted up with an
expression of delight, and exclaimed, "Oh, sir, I do love to
work in these rooms!  I'm never so happy as when I'm arranging
them elegant things!"  And, although my pleasure in her
pleasure was modified by the discovery that she had taken an
eighteenth-century comb to disentangle the fringes of a rug,
and broken several of its teeth in her ardor, that she
invariably placed a certain Whister etching upside down, and
then stood in rapt admiration before it, still, in watching
her enthusiasm, I felt a thrill of satisfaction at seeing how
her untaught taste responded to a contact with good things.

Here in America, and especially in our city, which we have
been at such pains to make as hideous as possible, the
schoolrooms, where hundreds of thousands of children pass many
hours daily, are one degree more graceless than the town
itself; the most artistically inclined child can hardly
receive any but unfortunate impressions.  The other day a
friend took me severely to task for rating our American women
on their love of the big shops, and gave me, I confess, an
entirely new idea on the subject.  "Can't you see," she said,
"that the shops here are what the museums abroad are to the
poor?  It is in them only that certain people may catch
glimpses of the dainty and exquisite manufactures of other
countries.  The little education their eyes receive is
obtained during visits to these emporiums."

If this proves so, and it seems probable, it only proves how
the humble long for something more graceful than their meagre
homes afford.

In the hope of training the younger generations to better
standards and less vulgar ideals, a group of ladies are making
an attempt to surround our schoolchildren during their
impressionable youth with reproductions of historic
masterpieces, and have already decorated many schoolrooms in
this way.  For a modest sum it is possible to tint the bare
walls an attractive color - a delight in itself - and adorn
them with plaster casts of statues and solar prints of
pictures and buildings.  The transformation that fifty or
sixty dollars judiciously expended in this way produces in a
school-room is beyond belief, and, as the advertisements say,
"must be seen to be appreciated," giving an air of
cheerfulness and refinement to the dreariest apartment.

It is hard to make people understand the enthusiasm these
decorations have excited in both teachers and pupils.  The
directress of one of our large schools was telling me of the
help and pleasure the prints and casts had been to her; she
had given them as subjects for the class compositions, and
used them in a hundred different ways as object-lessons.  As
the children are graduated from room to room, a great variety
of high-class subjects can be brought to their notice by
varying the decorations.

It is by the eye principally that taste is educated.  "We
speak with admiration of the eighth sense common among
Parisians, and envy them their magic power of combining simple
materials into an artistic whole.  The reason is that for
generations the eyes of those people have been unconsciously
educated by the harmonious lines of well-proportioned
buildings, finely finished detail of stately colonnade, and
shady perspective of quay and boulevard.  After years of this
subtle training the eye instinctively revolts from the vulgar
and the crude.  There is little in the poorer quarters of our
city to rejoice or refine the senses; squalor and all-
pervading ugliness are not least among the curses that poverty
entails.

If you have a subject of interest in your mind, it often
happens that every book you open, every person you speak with,
refers to that topic.  I never remember having seen an
explanation offered of this phenomenon.

The other morning, while this article was lying half finished
on my desk, I opened the last number of a Paris paper and
began reading an account of the drama, LES MAUVAIS BERGERS
(treating of that perilous subject, the "strikes"), which
Sarah Bernhardt had just had the courage to produce before the
Paris public.  In the third act, when the owner of the factory
receives the disaffected hands, and listens to their
complaints, the leader of the strike (an intelligent young
workman), besides shorter hours and increased pay, demands
that recreation rooms be built where the toilers, their wives,
and their children may pass unoccupied hours in the enjoyment
of attractive surroundings, and cries in conclusion: "We, the
poor, need some poetry and some art in our lives, man does not
live by bread alone.  He has a right, like the rich, to things
of beauty!"

In commending the use of decoration as a means of bringing
pleasure into dull, cramped lives, one is too often met by the
curious argument that taste is innate.  "Either people have it
or they haven't," like a long nose or a short one, and it is
useless to waste good money in trying to improve either.  "It
would be much more to the point to spend your money in giving
the poor children a good roast-beef dinner at Christmas than
in placing the bust of Clytie before them."  That argument has
crushed more attempts to elevate the poor than any other ever
advanced.  If it were listened to, there would never be any
progress made, because there are always thousands of people
who are hungry.

When we reflect how painfully ill-arranged rooms or ugly
colors affect our senses, and remember that less fortunate
neighbors suffer as much as we do from hideous environments,
it seems like keeping sunlight from a plant, or fresh air out
of a sick-room, to refuse glimpses of the beautiful to the
poor when it is in our power to give them this satisfaction
with a slight effort.  Nothing can be more encouraging to
those who occasionally despair of human nature than the good
results already obtained by this small attempt in the schools.

We fall into the error of imagining that because the Apollo
Belvedere and the Square of St. Mark's have become stale to us
by reproduction they are necessarily so to others.  The great
and the wealthy of the world form no idea of the longing the
poor feel for a little variety in their lives.  They do not
know what they want.  They have no standards to guide them,
but the desire is there.  Let us offer ourselves the
satisfaction, as we start off for pleasure trips abroad or to
the mountains, of knowing that at home the routine of study is
lightened for thousands of children by the counterfeit
presentment of the scenes we are enjoying; that, as we float
up the Golden Horn or sit in the moonlight by the Parthenon,
far away at home some child is dreaming of those fair scenes
as she raises her eyes from her task, and is unconsciously
imbibing a love of the beautiful, which will add a charm to
her humble life, and make the present labors lighter.  If the
child never lives to see the originals, she will be happier
for knowing that somewhere in the world domed mosques mirror
themselves in still waters, and marble gods, the handiwork of
long-dead nations, stand in the golden sunlight and silently
preach the gospel of the beautiful.




Chapter 21 - Seven Small Duchesses


SINCE those "precious" days when the habitues of the Hotel
Rambouillet first raised social intercourse to the level of a
fine art, the morals and manners, the amusements and intrigues
of great French ladies have interested the world and
influenced the ways of civilized nations.  Thanks to Memoirs
and Maxims, we are able to reconstruct the life of a
seventeenth or eighteenth century noblewoman as completely as
German archeologists have rebuilt the temple of the Wingless
Victory on the Acropolis from surrounding debris.

Interest in French society has, however, diminished during
this century, ceasing almost entirely with the Second Empire,
when foreign women gave the tone to a parvenu court from which
the older aristocracy held aloof in disgust behind the closed
gates of their "hotels" and historic chateaux.

With the exception of Balzac, few writers have drawn authentic
pictures of nineteenth-century noblewomen in France; and his
vivid portrayals are more the creations of genius than correct
descriptions of a caste.

During the last fifty years French aristocrats have ceased to
be factors even in matters social, the sceptre they once held
having passed into alien hands, the daughters of Albion to a
great extent replacing their French rivals in influencing the
ways of the "world," - a change, be it remarked in passing,
that has not improved the tone of society or contributed to
the spread of good manners.

People like the French nobles, engaged in sulking and
attempting to overthrow or boycott each succeeding regime,
must naturally lose their influence.  They have held aloof so
long - fearing to compromise themselves by any advances to the
powers that be, and restrained by countless traditions from
taking an active part in either the social or political strife
- that little by little they have been passed by and ignored;
which is a pity, for amid the ruin of many hopes and ambitions
they have remained true to their caste and handed down from
generation to generation the secret of that gracious urbanity
and tact which distinguished the Gallic noblewoman in the last
century from the rest of her kind and made her so deft in the
difficult art of pleasing - and being pleased.

Within the last few years there have, however, been signs of a
change.  Young members of historic houses show an amusing
inclination to escape from their austere surroundings and
resume the place their grandparents abdicated.  If it is
impossible to rule as formerly, they at any rate intend to get
some fun out of existence.

This joyous movement to the front is being made by the young
matrons enlisted under the "Seven little duchesses'" banner.
Oddly enough, a baker's half-dozen of ducal coronets are worn
at this moment, in France, by small and sprightly women, who
have shaken the dust of centuries from those ornaments and
sport them with a decidedly modern air!

It is the members of this clique who, in Paris during the
spring, at their chateaux in the summer and autumn, and on the
Riviera after Christmas, lead the amusements and strike the
key for the modern French world.

No one of these light-hearted ladies takes any particular
precedence over the others.  All are young, and some are
wonderfully nice to look at.  The Duchesse d'Uzes is, perhaps,
the handsomest, good looks being an inheritance from her
mother, the beautiful and wayward Duchesse de Chaulme.

There is a vivid grace about the daughter, an intense vitality
that suggests some beautiful being of the forest.  As she
moves and speaks one almost expects to hear the quick breath
coming and going through her quivering nostrils, and see foam
on her full lips.  Her mother's tragic death has thrown a
glamor of romance around the daughter's life that heightens
the witchery of her beauty.

Next in good looks comes an American, the Duchesse de la
Rochefoucauld, although marriage (which, as de Maupassant
remarked, is rarely becoming) has not been propitious to that
gentle lady.  By rights she should have been mentioned first,
as her husband outranks, not only all the men of his age, but
also his cousin, the old Duc de la Rochefoucauld-Doudeauville,
to whom, however, a sort of brevet rank is accorded on account
of his years, his wealth, and the high rank of his two wives.
It might almost be asserted that our fair compatriot wears the
oldest coronet in France.  She certainly is mistress of three
of the finest chateaux in that country, among which is
Miromail, where the family live, and Liancourt, a superb
Renaissance structure, a delight to the artist's soul.

The young Duchesse de Brissac runs her two comrades close as
regards looks.  Brissac is the son of Mme. de Tredern, whom
Newporters will remember two years ago, when she enjoyed some
weeks of our summer season.  Their chateau was built by the
Brissac of Henri IV.'s time and is one of the few that escaped
uninjured through the Revolution, its vast stone corridors and
massive oak ceilings, its moat and battlements, standing to-
day unimpaired amid a group of chateaux including Chaumont,
Rochecotte, Azay-le-Rideau, Usse, Chenonceau, within "dining"
distance of each other, that form a centre of gayety next in
importance to Paris and Cannes.  In the autumn these spacious
castles are filled with joyous bands and their ample stables
with horses.  A couple of years ago, when the king of Portugal
and his suite were entertained at Chaumont for a week of stag-
hunting, over three hundred people, servants, and guests,
slept under its roof, and two hundred horses were housed in
its stables.

The Duc de Luynes and his wife, who was Mlle. de Crussol
(daughter of the brilliant Duchesse d'Uzes of Boulanger fame),
live at Dampierre, another interesting pile filled with rare
pictures, bric-a-brac, and statuary, first among which is Jean
Goujon's life-sized statue (in silver) of Louis XIII.,
presented by that monarch to his favorite, the founder of the
house.  This gem of the Renaissance stands in an octagonal
chamber hung in dark velvet, unique among statues.  It has
been shown but once in public, at the Loan Exhibition in 1872,
when the patriotic nobility lent their treasures to collect a
fund for the Alsace-Lorraine exiles.

The Duchesse de Noailles, NEE Mlle. de Luynes, is another of
this coterie and one of the few French noblewomen who has
travelled.  Many Americans will remember the visit she made
here with her mother some years ago, and the effect her
girlish grace produced at that time.  The de Noailles' chateau
of Maintenon is an inheritance from Louis XIV.'s prudish
favorite, who founded and enriched the de Noailles family.
The Duc and Duchesse d'Uzes live near by at Bonnelle with the
old Duc de Doudeauville, her grandfather, who is also the
grandfather of Mme. de Noailles, these two ladies being
descended each from a wife of the old duke, the former from
the Princesse de Polignac and the latter from the Princesse de
Ligne.

The Duchesse de Bisaccia, NEE Princesse Radziwill, and the
Duchesse d'Harcourt, who complete the circle of seven, also
live in this vicinity, where another group of historic
residences, including Eclimont and Rambouillet, the summer
home of the president, rivals in gayety and hospitality the
chateaux of the Loire.

No coterie in England or in this country corresponds at all to
this French community.  Much as they love to amuse themselves,
the idea of meeting any but their own set has never passed
through their well-dressed heads.  They differ from their
parents in that they have broken away from many antiquated
habits.  Their houses are no longer lay hermitages, and their
opera boxes are regularly filled, but no foreigner is ever
received, no ambitious parvenu accepted among them.  Ostracism
here means not a ten years' exile, but lifelong banishment.

The contrast is strong between this rigor and the enthusiasm
with which wealthy new-comers are welcomed into London society
or by our own upper crust, so full of unpalatable pieces of
dough.  This exclusiveness of the titled French reminds me -
incongruously enough - of a certain arrangement of graves in a
Lenox cemetery, where the members of an old New England family
lie buried in a circle with their feet toward its centre.
When I asked, many years ago, the reason for this arrangement,
a wit of that day - a daughter, by the bye, of Mrs. Stowe -
replied, "So that when they rise at the Last Day only members
of their own family may face them!"

One is struck by another peculiarity of these French men and
women - their astonishing proficiency in LES ARTS D'AGREMENT.
Every Frenchwoman of any pretensions to fashion backs her
beauty and grace with some art in which she is sure to be
proficient.  The dowager Duchesse d'Uzes is a sculptor of
mark, and when during the autumn Mme. de Tredern gives opera
at Brissac, she finds little difficulty in recruiting her
troupe from among the youths and maidens under her roof whose
musical education has been thorough enough to enable them to
sing difficult music in public.

Love of the fine arts is felt in their conversation, in the
arrangement and decoration of their homes, and in the interest
that an exhibition of pictures or old furniture will excite.
Few of these people but are HABITUES of the Hotel Drouot and
conversant with the value and authenticity of the works of art
daily sold there.  Such elements combine to form an atmosphere
that does not exist in any other country, and lends an
interest to society in France which it is far from possessing
elsewhere.

There is but one way that an outsider can enter this Gallic
paradise.  By marrying into it!  Two of the seven ladies in
question lack the quarterings of the rest.  Miss Mitchell was
only a charming American girl, and the mother of the Princesse
Radziwill was Mlle. Blanc of Monte Carlo.  However, as in most
religions there are ceremonies that purify, so in this case
the sacrament of marriage is supposed to have reconstructed
these wives and made them genealogically whole.

There is something incongruous to most people in the idea of a
young girl hardly out of the schoolroom bearing a ponderous
title.  The pomp and circumstance that surround historic names
connect them (through our reading) with stately matrons
playing the "heavy female" roles in life's drama, much as Lady
Macbeth's name evokes the idea of a raw-boned mother-in-law
sort of person, the reverse of attractive, and quite the last
woman in the world to egg her husband on to a crime - unless
it were wife murder!

Names like de Chevreuse, or de la Rochefoucauld, seem
appropriate only to the warlike amazons of the Fronde, or
corpulent kill-joys in powder and court trains of the Mme.
Etiquette school; it comes as a shock, on being presented to a
group of girlish figures in the latest cut of golfing skirts,
who are chattering odds on the Grand Prix in faultless
English, to realize that these light-hearted GAMINES are the
present owners of sonorous titles.  One shudders to think what
would have been the effect on poor Marie Antoinette's priggish
mentor could she have foreseen her granddaughter, clad in
knickerbockers, running a petroleum tricycle in the streets of
Paris, or pedalling "tandem" across country behind some young
cavalry officer of her connection.

Let no simple-minded American imagine, however, that these up-
to-date women are waiting to welcome him and his family to
their intimacy.  The world outside of France does not exist
for a properly brought up French aristocrat.  Few have
travelled; from their point of view, any man with money, born
outside of France, is a "Rasta," unless he come with
diplomatic rank, in which case his position at home is
carefully ferreted out before he is entertained.  Wealthy
foreigners may live for years in Paris, without meeting a
single member of this coterie, who will, however, join any new
club that promises to be amusing; but as soon as the "Rastas"
get a footing, "the seven" and their following withdraw.
Puteaux had its day, then the "Polo Club" in the Bois became
their rendezvous.  But as every wealthy American and "smart"
Englishwoman passing the spring in Paris rushed for that too
open circle, like tacks toward a magnet, it was finally cut by
the "Duchesses," who, together with such attractive aides-de-
camp as the Princesse de Poix, Mmes. de Murat, de Morny, and
de Broglie, inaugurated last spring "The Ladies' Club of the
Acacias," on a tiny island belonging to the "Tir aux Pigeons,"
which, for the moment, is the fad of its founders.

It must be a surprise to those who do not know French family
pride to learn that exclusive as these women are there are
cliques in France today whose members consider the ladies we
have been speaking of as lacking in reserve.  Men like Guy de
Durfort, Duc de Lorges, or the Duc de Massa, and their
womenkind, hold themselves aloof on an infinitely higher
plane, associating with very few and scorning the vulgar herd
of "smart" people!

It would seem as if such a vigorous weeding out of the
unworthy would result in a rather restricted comradeship.  Who
the "elect" are must become each year more difficult to
discern.

Their point of view in this case cannot differ materially from
that of the old Methodist lady, who, while she was quite sure
no one outside of her own sect could possibly be saved, had
grave fears concerning the future of most of the congregation.
She felt hopeful only of the clergyman and herself, adding:
"There are days when I have me doubts about the minister!"




Chapter 22 - Growing Old Ungracefully


THERE comes, we are told, a crucial moment, "a tide" in all
lives, that taken at the flood, leads on to fortune.  An
assertion, by the bye, which is open to doubt.  What does come
to every one is an hour fraught with warning, which, if
unheeded, leads on to folly.  This fateful date coincides for
most of us with the discovery that we are turning gray, or
that the "crow's feet" or our temples are becoming visible
realities.  The unpleasant question then presents itself: Are
we to slip meekly into middle age, or are arms be taken up
against our insidious enemy, and the rest of life become a
losing battle, fought inch by inch?

In other days it was the men who struggled the hardest against
their fate.  Up to this century, the male had always been the
ornamental member of a family.  Caesar, we read, coveted a
laurel crown principally because it would help to conceal his
baldness.  The wigs of the Grand Monarque are historical.  It
is characteristic of the time that the latter's attempts at
rejuvenation should have been taken as a matter of course,
while a few years later poor Madame de Pompadour's artifices
to retain her fleeting youth were laughed at and decried.

To-day the situation is reversed.  The battle, given up by the
men - who now accept their fate with equanimity - is being
waged by their better halves with a vigor heretofore unknown.
So general has this mania become that if asked what one
weakness was most characteristic of modern women, what
peculiarity marked them as different from their sisters in
other centuries, I should unhesitatingly answer, "The desire
to look younger than their years."

That people should long to be handsomer or taller or better
proportioned than a cruel Providence has made them, is natural
enough; but that so much time and trouble should be spent
simply in trying to look "young," does seem unreasonable,
especially when it is evident to everybody that such efforts
must, in the nature of things, be failures.  The men or women
who do not look their age are rare.  In each generation there
are exceptions, people who, from one cause or another -
generally an excellent constitution - succeed in producing the
illusion of youth for a few years after youth itself has
flown.

A curious fatality that has the air of a nemesis pursues those
who succeed in giving this false appearance.  When pointing
them out to strangers, their admirers (in order to make the
contrast more effective) add a decade or so to the real age.
Only last month I was sitting at dinner opposite a famous
French beauty, who at fifty succeeds in looking barely thirty.
During the meal both my neighbors directed attention to her
appearance, and in each case said: "Isn't she a wonder!  You
know she's over sixty!"  So all that poor lady gained by
looking youthful was ten years added to her age!

The desire to remain attractive as long as possible is not
only a reasonable but a commendable ambition.  Unfortunately
the stupid means most of our matrons adopt to accomplish this
end produce exactly the opposite result.

One sign of deficient taste in our day is this failure to
perceive that every age has a charm of its own which can be
enhanced by appropriate surroundings, but is lost when placed
in an incongruous setting.  It saddens a lover of the
beautiful to see matrons going so far astray in their desire
to please as to pose for young women when they no longer can
look the part.

Holmes, in MY MAIDEN AUNT, asks plaintively: -


WHY WILL SHE TRAIN THAT WINTRY CURL IN SUCH A SPRINGLIKE WAY?


That this folly is in the air to-day, few will dispute.  It
seems to be perpetrated unconsciously by the greater number,
with no particular object in view, simply because other people
do it.  An unanswerable argument when used by one of the fair
sex!

Few matrons stop to think for themselves, or they would
realize that by appearing in the same attire as their
daughters they challenge a comparison which can only be to
their disadvantage, and should be if possible avoided.  Is
there any disillusion more painful than, on approaching what
appeared from a distance to be a young girl, to find one's
self face to face with sixty years of wrinkles?  That is a
modern version of the saying, "an old head on young
shoulders," with a vengeance!  If mistaken sexagenarians could
divine the effect that tired eyes smiling from under false
hair, aged throats clasped with collars of pearls, and
rheumatic old ribs braced into a semblance of girlish grace,
produce on the men for whose benefit such adornments have been
arranged, reform would quickly follow.  There is something
absolutely uncanny in the illusion.  The more successful it
is, the more weird the effect.

No one wants to see Polonius in the finery of Mercutio.  What
a sense of fitness demands is, on the contrary, a "make up" in
keeping with the role, which does not mean that a woman is to
become a frump, but only that she is to make herself
attractive in another way.

During the ANCIEN REGIME in France, matters of taste were
considered all-important; an entire court would consult on the
shade of a brocade, and hail a new coiffure as an event.  The
great ladies who had left their youth behind never then
committed the blunder, so common among our middle-aged ladies,
of aping the maidens of the day.  They were far too clever for
that, and appreciated the advantages to be gained from sombre
stuffs and flattering laces.  Let those who doubt study
Nattier's exquisite portrait of Maria Leczinska.  Nothing in
the pose or toilet suggests a desire on the painter's part to
rejuvenate his sitter.  If anything, the queen's age is
emphasized as something honorable.  The gray hair is simply
arranged and partly veiled with black lace, which sets off her
delicate, faded face to perfection, but without flattery or
fraud.

We find the same view taken of age by the masters of the
Renaissance, who appreciated its charm and loved to reproduce
its grace.

Queen Elizabeth stands out in history as a woman who struggled
ungracefully against growing old.  Her wigs and hoops and
farthingales served only to make her ridiculous, and the fact
that she wished to be painted without shadows in order to
appear "young," is recorded as an aberration of a great mind.

Are there no painters to-day who will whisper to our wives and
mothers the secret of looking really lovely, and persuade them
to abandon their foolish efforts at rejuvenation?

Let us see some real old ladies once more, as they look at us
from miniature and portrait.  Few of us, I imagine, but
cherish the memory of some such being in the old home, a soft-
voiced grandmother, with silvery hair brushed under a discreet
and flattering cap, with soft, dark raiment and tulle-wrapped
throat.  There are still, it is to be hoped, many such lovable
women in our land, but at times I look about me in dismay, and
wonder who is to take their places when they are gone.  Are
there to be no more "old ladies"?  Will the next generation
have to look back when the word "grandmother" is mentioned, to
a stylish vision in Parisian apparel, decollete and decked in
jewels, or arrayed in cocky little bonnets, perched on tousled
curls, knowing jackets, and golfing skirts?

The present horror of anything elderly comes, probably, from
the fact that the preceding generation went to the other
extreme, young women retiring at forty into becapped old age.
Knowing how easily our excitable race runs to exaggeration,
one trembles to think what surprises the future may hold, or
what will be the next decree of Dame Fashion.  Having
eliminated the "old lady" from off the face of the earth, how
fast shall we continue down the fatal slope toward the
ridiculous?  Shall we be compelled by a current stronger than
our wills to array ourselves each year (the bare thought makes
one shudder) in more and more youthful apparel, until
corpulent senators take to running about in "sailor suits,"
and octogenarian business men go "down town" in "pinafores,"
while belles of sixty or seventy summers appear in Kate
Greenaway costumes, and dine out in short-sleeved bibs, which
will allow coy glimpses of their cunning old ankles to appear
over their socks?




Chapter 23 - Around a Spring


THE greatest piece of good luck that can befall a Continental
village is the discovery, within its limits, of a spring
supplying some kind of malodorous water.  From that moment the
entire community, abandoning all other plans, give themselves
over to hatching their golden egg, experience having taught
them that no other source of prosperity can compare with a
SOURCE THERMALE.  If the water of the newfound spring, besides
having an unpleasant smell, is also hot, then Providence has
indeed blessed the township.

The first step is to have the fluid analyzed by a celebrity,
and its medicinal qualities duly set forth in a certificate.
The second is to get official recognition from the government
and the authorization to erect a bath house.  Once these
preliminaries accomplished, the way lies plain before the
fortunate village; every citizen, from the mayor down to the
humblest laborer, devotes himself to solving the all-important
problem how to attract strangers to the place and keep and
amuse them when they have been secured.

Multicolored pamphlets detailing the local attractions are
mailed to the four corners of the earth, and brilliant chromos
of the village, with groups of peasants in the foreground,
wearing picturesque costumes, are posted in every available
railway station and booking-office, regardless of the fact
that no costumes have been known in the neighborhood for half
a century, except those provided by the hotel proprietors for
their housemaids.  A national dress, however, has a fine
effect in the advertisement, and gives a local color to the
scene.  What, for instance, would Athens be without that
superb individual in national get-up whom one is sure to see
before the hotel on alighting from the omnibus?  I am
convinced that he has given as much pleasure as the Acropolis
to most travellers; the knowledge that the hotel proprietors
share the expenses of his keep and toilet cannot dispel the
charm of those scarlet embroideries and glittering arms.

After preparing their trap, the wily inhabitants of a new
watering-place have only to sit down and await events.  The
first people to appear on the scene are, naturally, the
English, some hidden natural law compelling that race to
wander forever in inexpensive by-ways and serve as pioneers
for other nations.  No matter how new or inaccessible the
spring, you are sure to find a small colony of Britons
installed in the half-finished hotels, reading week-old
editions of the TIMES, and grumbling over the increase in
prices since the year before.

As soon as the first stray Britons have developed into an
"English colony," the municipality consider themselves
authorized to construct a casino and open avenues, which are
soon bordered by young trees and younger villas.  In the wake
of the English come invalids of other nationalities.  If a
wandering "crowned head" can be secured for a season, a great
step is gained, as that will attract the real paying public
and the Americans, who as a general thing are the last to
appear on the scene.

At this stage of its evolution, the "city fathers" build a
theatre in connection with their casino, and (persuading the
government to wink at their evasion of the gambling laws) add
games of chance to the other temptations of the place.

There is no better example of the way a spring can be
developed by clever handling, and satisfactory results
obtained from advertising and judicious expenditure, than Aix-
les-Bains, which twenty years ago was but a tiny mountain
village, and to-day ranks among the wealthiest and most
brilliant EAUX in Europe.  In this case, it is true, they had
tradition to fall back on, for Aquae Gratinae was already a
favorite watering-place in the year 30 B.C., when Caesar took
the cure.

There is little doubt in my mind that when the Roman Emperor
first arrived he found a colony of spinsters and retired army
officers (from recently conquered Britain) living around this
spring in POPINAE (which are supposed to have corresponded to
our modern boarding-house), wearing waterproof togas and
common-sense cothurni, with double cork soles.

The wife of another Caesar fled hither in 1814.  The little
inn where she passed a summer in the company of her one-eyed
lover - while the fate of her husband and son was being
decided at Vienna and Waterloo - is still standing, and serves
as the annex of a vast new hotel.

The way in which a watering-place is "run" abroad, where
tourists are regarded as godsends, to be cherished, spoiled,
and despoiled, is amusingly different from the manner of our
village populations when summer visitors (whom they look upon
as natural enemies) appear on the scene.  Abroad the entire
town, together with the surrounding villages, hamlets, and
farmhouses, rack their brains and devote their time to
inventing new amusements for the visitor, and original ways of
enticing the gold from his pocket - for, mind you, on both
continents the object is the same.  In Europe the rural
Machiavellis have had time to learn that smiling faces and
picturesque surroundings are half the battle.

Another point which is perfectly understood abroad is that a
cure must be largely mental; that in consequence boredom
retards recovery.  So during every hour of the day and evening
a different amusement is provided for those who feel inclined
to be amused.  At Aix, for instance, Colonne's orchestra plays
under the trees at the Villa des Fleurs while you are sipping
your after-luncheon coffee.  At three o'clock "Guignol"
performs for the youngsters.  At five o'clock there is another
concert in the Casino.  At eight o'clock an operetta is given
at the villa, and a comedy in the Casino, both ending
discreetly at eleven o'clock.  Once a week, as a variety, the
park is illuminated and fireworks help to pass the evening.

If neither music nor Guignol tempts you, every form of trap
from a four-horse break to a donkey-chair (the latter much in
fashion since the English queen's visit) is standing ready in
the little square.  On the neighboring lake you have but to
choose between a dozen kinds of boats.  The hire of all these
modes of conveyance being fixed by the municipality, and
plainly printed in boat or carriage, extortions or discussions
are impossible.  If you prefer a ramble among the hills, the
wily native is lying in wait for you there also.  When you
arrive breathless at your journey's end, a shady arbor offers
shelter where you may cool off and enjoy the view.  It is not
by accident that a dish of freshly gathered strawberries and a
bowl of milk happen to be standing near by.

When bicycling around the lake you begin to feel how nice a
half hour's rest would be.  Presto! a terrace overhanging the
water appears, and a farmer's wife who proposes brewing you a
cup of tea, supplementing it with butter and bread of her own
making.  Weak human nature cannot withstand such
blandishments.  You find yourself becoming fond of the people
and their smiling ways, returning again and again to shores
where you are made so welcome.  The fact that "business" is at
the bottom of all this in no way interferes with one's
enjoyment.  On the contrary, to a practical mind it is
refreshing to see how much can be made of a little, and what a
fund of profit and pleasure can be extracted from small
things, if one goes to work in the right way.

The trick can doubtless be overdone: at moments one feels the
little game is worked a bit too openly.  The other evening,
for instance, when we entered the dining-room of our hotel and
found it decorated with flags and flowers, because, forsooth,
it was the birthday of "Victoria R. and I.," when champagne
was offered at dessert and the band played "God Save the
Queen," while the English solemnly stood up in their places,
it did seem as if the proprietor was poking fun at his guests
in a sly way.

I was apparently the only person, however, who felt this.  The
English were much flattered by the attention, so I snubbed
myself with the reflection that if the date had been July 4, I
doubtless should have considered the flags and music most A
PROPOS.

There are also moments when the vivid picturesqueness of this
place comes near to palling on one.  Its beauty is so
suspiciously like a set scene that it gives the impression of
having been arranged by some clever decorator with an eye to
effect only.

One is continually reminded of that inimitable chapter in
Daudet's TARTARIN SUR LES ALPES, when the hero discovers that
all Switzerland is one enormous humbug, run to attract
tourists; that the cataracts are "faked," and avalanches
arranged beforehand to enliven a dull season.  Can anything be
more delicious than the disillusion of Tartarin and his
friends, just back from a perilous chamois hunt, on
discovering that the animal they had exhausted themselves in
following all day across the mountains, was being refreshed
with hot wine in the kitchen of the hotel by its peasant
owner?

When one visits the theatrical abbey across the lake and
inspects the too picturesque tombs of Savoy's sovereigns, or
walks in the wonderful old garden, with its intermittent
spring, the suspicion occurs, in spite of one's self, that the
whole scene will be folded up at sunset and the bare-footed
"brother" who is showing us around with so much unction will,
after our departure, hurry into another costume, and appear
later as one of the happy peasants who are singing and
drinking in front of that absurdly operatic little inn you
pass on the drive home.

There is a certain pink cottage, with a thatched roof and
overhanging vines, about which I have serious doubts, and
fully expect some day to see Columbine appear on that
pistache-green balcony (where the magpie is hanging in a
wicker cage), and, taking Arlequin's hand, disappear into the
water-butt while Clown does a header over the half-door, and
the cottage itself turns into a gilded coach, with Columbine
kissing her hand from the window.

A problem which our intelligent people have not yet set
themselves to solve, is being worked out abroad.  The little
cities of Europe have discovered that prosperity comes with
the tourist, that with increased facilities of communication
the township which expends the most in money and brains in
attracting rich travellers to its gates is the place that will
grow and prosper.  It is a simple lesson, and one that I would
gladly see our American watering-places learn and apply.




Chapter 24 - The Better Part


AS I watch, year after year, the flowers of our aristocratic
hothouses blooming behind the glass partitions of their
conservatories, tended always by the same gardeners, admired
by the same amateurs, and then, for the most part, withering
unplucked on their virgin stems, I wonder if the wild flowers
appreciate the good luck that allows them to taste the storm
and the sunshine untrammelled and disperse perfume according
to their own sweet will.

To drop a cumbersome metaphor, there is not the shadow of a
doubt that the tamest and most monotonous lives in this
country are those led by the women in our "exclusive" sets,
for the good reason that they are surrounded by all the
trammels of European society without enjoying any of its
benefits, and live in an atmosphere that takes the taste out
of existence too soon.

Girls abroad are kept away from the "world" because their
social life only commences after marriage.  In America, on the
contrary, a woman is laid more or less on the shelf the day
she becomes a wife, so that if she has not made hay while her
maiden sunshine lasted, the chances are she will have but
meagrely furnished lofts; and how, I ask, is a girl to harvest
always in the same field?

When in this country, a properly brought up young aristocrat
is presented by her mamma to an admiring circle of friends,
she is quite a BLASEE person.  The dancing classes she has
attended for a couple of years before her debut (that she
might know the right set of youths and maidens) have taken the
bloom off her entrance into the world.  She and her friends
have already talked over the "men" of their circle, and
decided, with a sigh, that there were matches going about.  A
juvenile Newporter was recently overheard deploring (to a
friend of fifteen summers), "By the time we come out there
will only be two matches in the market," meaning, of course,
millionnaires who could provide their brides with country and
city homes, yachts, and the other appurtenances of a brilliant
position.  Now, the unfortunate part of the affair is, that
such a worldly-minded maiden will in good time be obliged to
make her debut, dine, and dance through a dozen seasons
without making a new acquaintance.  Her migrations from town
to seashore, or from one country house to another, will be but
changes of scene: the actors will remain always the same.
When she dines out, she can, if she cares to take the trouble,
make a fair guess as to who the guests will be before she
starts, for each entertainment is but a new shuffle of the too
well-known pack.  She is morally certain of being taken in to
dinner by one of fifty men whom she has known since her
childhood, and has met on an average twice a week since she
was eighteen.

Of foreigners such a girl sees little beyond a stray
diplomatist or two, in search of a fortune, and her glimpses
of Paris society are obtained from the windows of a hotel on
the Place Vendome.  In London or Rome she may be presented in
a few international salons, but as she finds it difficult to
make her new acquaintances understand what an exalted position
she occupies at home, the chances are that pique at seeing
some Daisy Miller attract all the attention will drive my lady
back to the city where she is known and appreciated, nothing
being more difficult for an American "swell" than explaining
to the uninitiated in what way her position differs from that
of the rest of her compatriots.

When I see the bevies of highly educated and attractive girls
who make their bows each season, I ask myself in wonder, "Who,
in the name of goodness, are they to marry?"

In the very circle where so much stress is laid on a girl's
establishing herself brilliantly, the fewest possible husbands
are to be found.  Yet, limited as such a girl's choice is, she
will sooner remain single than accept a husband out of her
set.  She has a perfectly distinct idea of what she wants, and
has lived so long in the atmosphere of wealth that existence
without footmen and male cooks, horses and French clothes,
appears to her impossible.  Such large proportions do these
details assume in her mind that each year the husband himself
becomes of less importance, and what he can provide the
essential point.

If an outsider is sufficiently rich, my lady may consent to
unite her destinies to his, hoping to get him absorbed into
her own world.

It is pathetic, considering the restricted number of eligible
men going about, to see the trouble and expense that parents
take to keep their daughters EN EVIDENCE.  When one reflects
on the number of people who are disturbed when such a girl
dines out, the horses and men and women who are kept up to
convey her home, the time it has taken her to dress, the cost
of the toilet itself, and then see the man to whom she will be
consigned for the evening, - some bored man about town who has
probably taken her mother in to dinner twenty years before,
and will not trouble himself to talk with his neighbor, or a
schoolboy, breaking in his first dress suit, - when one
realizes that for many maidens this goes on night after night
and season after season, it seems incredible that they should
have the courage, or think it worth their while to keep up the
game.

The logical result of turning eternally in the same circle is
that nine times out of ten the men who marry choose girls out
of their own set, some pretty stranger who has burst on their
jaded vision with all the charm of the unknown.  A
conventional society maiden who has not been fortunate enough
to meet and marry a man she loves, or whose fortune tempts
her, during the first season or two that she is "out," will in
all probability go on revolving in an ever-narrowing circle
until she becomes stationary in its centre.

In comparison with such an existence the life of the average
"summer girl" is one long frolic, as varied as that of her
aristocratic sister is monotonous.  Each spring she has the
excitement of selecting a new battle-ground for her
manoeuvres, for in the circle in which she moves, parents
leave such details to their children.  Once installed in the
hotel of her choice, mademoiselle proceeds to make the
acquaintance of an entirely new set of friends, delightful
youths just arrived, and bent on making the most of their
brief holidays, with whom her code of etiquette allows her to
sail all day, and pass uncounted evening hours in remote
corners of piazza or beach.

As the words "position" and "set" have no meaning to her young
ears, and no one has ever preached to her the importance of
improving her social standing, the acquaintances that chance
throws in her path are accepted without question if they
happen to be good-looking and amusing.  She has no prejudice
as to standing, and if her supply of partners runs short, she
will dance and flirt with the clerk from the desk in perfect
good humor - in fact, she stands rather in awe of that
functionary, and admires the "English" cut of his clothes and
his Eastern swagger.  A large hotel is her dream of luxury,
and a couple of simultaneous flirtations her ideal of bliss.
No long evenings of cruel boredom, in order to be seen at
smart houses, will cloud the maiden's career, no agonized
anticipation of retiring partnerless from cotillion or supper
will disturb her pleasure.

In the city she hails from, everybody she knows lives in about
the same style.  Some are said to be wealthier than others,
but nothing in their way of life betrays the fact; the art of
knowing how to enjoy wealth being but little understood
outside of our one or two great cities.  She has that tranquil
sense of being the social equal of the people she meets, the
absence of which makes the snob's life a burden.

During her summers away from home our "young friend" will meet
other girls of her age, and form friendships that result in
mutual visiting during the ensuing winter, when she will
continue to add more new names to the long list of her
admirers, until one fine morning she writes home to her
delighted parents that she has found the right man at last,
and engaged herself to him.

Never having penetrated to those sacred centres where birth
and wealth are considered all-important, and ignoring the
supreme importance of living in one set, the plan of life that
such a woman lays out for herself is exceedingly simple.  She
will coquette and dance and dream her pleasant dream until
Prince Charming, who is to awaken her to a new life, comes and
kisses away the dew of girlhood and leads his bride out into
the work-a-day world.  The simple surroundings and ambitions
of her youth will make it easy for this wife to follow the man
of her choice, if necessary, to the remote village where he is
directing a factory or to the mining camp where the
foundations of a fortune lie.  Life is full of delicious
possibilities for her.  Men who are forced to make their way
in youth often turn out to be those who make "history" later,
and a bride who has not become prematurely BLASEE to all the
luxuries or pleasures of existence will know the greatest
happiness that can come into a woman's life, that of rising at
her husband's side, step by step, enjoying his triumphs as she
shared his poverty.




Chapter 25 - La Comedie Francaise a Orange


IDLING up through the south of France, in company with a
passionate lover of that fair land, we learned on arriving at
Lyons, that the actors of the Comedie Francaise were to pass
through there the next day, EN ROUTE for Orange, where a
series of fetes had been arranged by "Les Felibres."  This
society, composed of the writers and poets of Provence, have
the preservation of the Roman theatre at Orange (perhaps the
most perfect specimen of classical theatrical architecture in
existence) profoundly at heart, their hope being to restore
some of its pristine beauty to the ruin, and give from time to
time performances of the Greek masterpieces on its disused
stage.

The money obtained by these representations will be spent in
the restoration of the theatre, and it is expected in time to
make Orange the centre of classic drama, as Beyreuth is that
of Wagnerian music.

At Lyons, the CORTEGE was to leave the Paris train and take
boats down the Rhone, to their destination.  Their programme
was so tempting that the offer of places in one of the craft
was enough to lure us away from our prearranged route.

By eight o'clock the following morning, we were on foot, as
was apparently the entire city.  A cannon fired from Fort
Lamothe gave the signal of our start.  The river, covered with
a thousand gayly decorated craft, glinted and glittered in the
morning light.  It world be difficult to forget that scene, -
the banks of the Rhone were lined with the rural population,
who had come miles in every direction to acclaim the passage
of their poets.

Everywhere along our route the houses were gayly decorated and
arches of flowers had been erected.  We float past Vienne, a
city once governed by Pontius Pilate, and Tournon, with its
feudal chateau, blue in the distance, then Saint Peray, on a
verdant vine-clad slope.  As we pass under the bridge at
Montelimar, an avalanche of flowers descends on us from above.

The rapid current of the river soon brings our flotilla
opposite Vivier, whose Gothic cathedral bathes its feet in the
Rhone.  Saint Esprit and its antique bridge appear next on the
horizon.  Tradition asserts that the Holy Spirit, disguised as
a stone mason, directed its construction; there were thirteen
workmen each day, but at sunset, when the men gathered to be
paid, but twelve could be counted.

Here the mayor and the municipal council were to have received
us and delivered an address, but were not on hand.  We could
see the tardy CORTEGE hastening towards the bridge as we shot
away down stream.

On nearing Orange, the banks and quays of the river are alive
with people.  The high road, parallel with the stream, is
alive with a many-colored throng.  On all sides one hears the
language of Mistral, and recognizes the music of Mireille sung
by these pilgrims to an artistic Mecca, where a miracle is to
be performed - and classic art called forth from its winding-
sheet.

The population of a whole region is astir under the ardent
Provencal sun, to witness a resurrection of the Drama in the
historic valley of the Rhone, through whose channel the
civilization and art and culture of the old world floated up
into Europe to the ceaseless cry of the CIGALES.

Chateaurenard! our water journey is ended.  Through the leafy
avenues that lead to Orange, we see the arch of Marius and the
gigantic proscenium of the theatre, rising above the roofs of
the little city.

So few of our compatriots linger in the south of France after
the spring has set in, or wander in the by-ways of that
inexhaustible country, that a word about the representations
at Orange may be of interest, and perchance create a desire to
see the masterpieces of classic drama (the common inheritance
of all civilized races) revived with us, and our stage put to
its legitimate use, cultivating and elevating the taste of the
people.

One would so gladly see a little of the money that is
generously given for music used to revive in America a love
for the classic drama.

We are certainly not inferior to our neighbors in culture or
appreciation, and yet such a performance as I witnessed at
Orange (laying aside the enchantment lent by the surroundings)
would not be possible here.  Why?  But to return to my
narrative.

The sun is setting as we toil, ticket in hand, up the Roman
stairway to the upper rows of seats; far below the local
GENDARMERIE who mostly understand their orders backwards are
struggling with the throng, whose entrance they are apparently
obstructing by every means in their power.  Once seated, and
having a wait of an hour before us, we amused ourselves
watching the crowd filling in every corner of the vast
building, like a rising tide of multi-colored water.

We had purposely chosen places on the highest and most remote
benches, to test the vaunted acoustic qualities of the
auditorium, and to obtain a view of the half-circle of
humanity, the gigantic wall back of the stage, and the
surrounding country.

As day softened into twilight, and twilight deepened into a
luminous Southern night; the effect was incomparable.  The
belfries and roofs of mediaeval Orange rose in the clear air,
overtopping the half ruined theatre in many places.  The arch
of Marius gleamed white against the surrounding hills,
themselves violet and purple in the sunset, their shadow
broken here and there by the outline of a crumbling chateau or
the lights of a village.

Behind us the sentries paced along the wall, wrapped in their
dark cloaks; and over all the scene, one snowtopped peak rose
white on the horizon, like some classic virgin assisting at an
Olympian solemnity.

On the stage, partly cleared of the debris of fifteen hundred
years, trees had been left where they had grown, among fallen
columns, fragments of capital and statue; near the front a
superb rose-laurel recalled the Attic shores.  To the right,
wild grasses and herbs alternated with thick shrubbery, among
which Orestes hid later, during the lamentations of his
sister.  To the left a gigantic fig-tree, growing again the
dark wall, threw its branches far out over the stage.

It was from behind its foliage that "Gaul," "Provence," and
"France," personated by three actresses of the "Francais,"
advanced to salute Apollo, seated on his rustic throne, in the
prologue which began the performance.

Since midday the weather had been threatening.  At seven
o'clock there was almost a shower - a moment of terrible
anxiety.  What a misfortune if it should rain, just as the
actors were to appear, here, where it had not rained for
nearly four months!  My right-hand neighbor, a citizen of
Beaucaire, assures me, "It will be nothing, only a strong
`mistral' for to-morrow."  An electrician is putting the
finishing touches to his arrangements.  He tries vainly to
concentrate some light on the box where the committee is to
sit, which is screened by a bit of crumbling wall, but finally
gives it up.

Suddenly the bugles sound; the orchestra rings out the
Marseillaise; it is eight o'clock.  The sky is wild and
threatening.  An unseen hand strikes the three traditional
blows.  The Faun Lybrian slips down from a branch of a great
elm, and throws himself on the steps that later are to
represent the entrance to the palace of Agamemnon, and
commences the prologue (an invocation to Apollo), in the midst
of such confusion that we hear hardly a word.  Little by
little, however, the crowd quiets down, and I catch Louis
Gallet's fine lines, marvellously phrased by Mesdames Bartet,
Dudlay, Moreno, and the handsome Fenoux as Apollo.

The real interest of the public is only aroused, however, when
THE ERYNNIES begins.  This powerful adaptation from the
tragedy of AEschylus is THE CHEF D'OEUVRE of Leconte de Lisle.
The silence is now complete.  One feels in the air that the
moment so long and so anxiously awaited has come, that a great
event is about to take place.  Every eye is fixed on the
stage, waiting to see what will appear from behind the dark
arches of the proscenium.  A faint, plaintive strain of music
floats out on the silence.  Demons crawl among the leafy
shadows.  Not a light is visible, yet the centre of the stage
is in strong relief, shading off into a thousand fantastic
shadows.  The audience sits in complete darkness.  Then we see
the people of Argos, winding toward us from among the trees,
lamenting, as they have done each day for ten years, the long
absence of their sons and their king.  The old men no longer
dare to consult the oracles, fearing to learn that all is
lost.  The beauty of this lament roused the first murmur of
applause, each word, each syllable, chiming out across that
vast semicircle with a clearness and an effect impossible to
describe.

Now it is the sentinel, who from his watch-tower has caught
the first glimpse of the returning army.  We hear him dashing
like a torrent down the turret stair; at the doorway, his
garments blown by the wind, his body bending forward in a
splendid pose of joy and exultation, he announces in a voice
of thunder the arrival of the king.

So completely are the twenty thousand spectators under the
spell of the drama that at this news one can feel a thrill
pass over the throng, whom the splendid verses hold
palpitating under their charm, awaiting only the end of the
tirade to break into applause.

From that moment the performance is one long triumph.
Clytemnestra (Madame Lerou) comes with her suite to receive
the king (Mounet-Sully), the conqueror!  I never realized
before all the perfection that training can give the speaking
voice.  Each syllable seemed to ring out with a bell-like
clearness.  As she gradually rose in the last act to the scene
with Orestes, I understood the use of the great wall behind
the actors.  It increased the power of the voices and lent
them a sonority difficult to believe.  The effect was
overwhelming when, unable to escape death, Clytemnestra cries
out her horrible imprecations.

Mounet-Sully surpassed himself.  Paul Mounet gave us the
complete illusion of a monster thirsting for blood, even his
mother's!  When striking her as she struck his father, he
answers her despairing query, "Thou wouldst not slay thy
mother?"  "Woman, thou hast ceased to be a mother!"  Dudlay
(as Cassandra) reaches a splendid climax when she prophesies
the misfortune hanging over her family, which she is powerless
to avert.

It is impossible in feeble prose to give any idea of the
impression those lines produce in the stupendous theatre,
packed to its utmost limits - the wild night, with a storm in
the air, a stage which seems like a clearing in some forest
inhabited by Titans, the terrible tragedy of AEschylus
following the graceful fete of Apollo.

After the unavoidable confusion at the beginning, the vast
audience listen in profound silence to an expression of pure
art.  They are no longer actors we hear, but demi-gods.  With
voices of the storm, possessed by some divine afflatus,
thundering out verses of fire - carried out of themselves in a
whirlwind of passion, like antique prophets and Sibyls
foretelling the misfortunes of the world!

That night will remain immutably fixed in my memory, if I live
to be as old as the theatre itself.  We were so moved, my
companion and I, and had seen the crowd so moved, that fearing
to efface the impression if we returned the second night to
see ANTIGONE, we came quietly away, pondering over it all, and
realizing once again that a thing of beauty is a source of
eternal delight.




Chapter 26 - Pre-palatial Newport


THE historic Ocean House of Newport is a ruin.  Flames have
laid low the unsightly structure that was at one time the
best-known hotel in America.  Its fifty-odd years of
existence, as well as its day, are over.  Having served a
purpose, it has departed, together with the generation and
habits of life that produced it, into the limbo where old
houses, old customs, and superannuated ideas survive, - the
memory of the few who like to recall other days and wander
from time to time in a reconstructed past.

There was a certain appropriateness in the manner of its
taking off.  The proud old structure had doubtless heard
projects of rebuilding discussed by its owners (who for some
years had been threatening to tear it down); wounded doubtless
by unflattering truths, the hotel decided that if its days
were numbered, an exit worthy of a leading role was at least
possible.  "Pull me down, indeed!  That is all very well for
ordinary hostleries, but from an establishment of my
pretensions, that has received the aristocracy of the country,
and countless foreign swells, something more is expected!"

So it turned the matter over and debated within its shaky old
brain (Mrs.  Skewton fashion) what would be the most becoming
and effective way of retiring from the social whirl.  Balls
have been overdone; people are no longer tempted by
receptions; a banquet was out of the question.  Suddenly the
wily building hit on an idea.  "I'll give them a FEU
D'ARTIFICE.  There hasn't been a first-class fire here since I
burned myself down fifty-three years ago!  That kind of
entertainment hasn't been run into the ground like everything
else in these degenerate days!  I'll do it in the best and
most complete way, and give Newport something to talk about,
whenever my name shall be mentioned in the future!"

Daudet, in his L'IMMORTEL, shows us how some people are born
lucky.  His "Loisel of the Institute," although an
insignificant and commonplace man, succeeded all through life
in keeping himself before the public, and getting talked about
as a celebrity.  He even arranged (to the disgust and envy of
his rivals) to die during a week when no event of importance
was occupying public attention.  In consequence, reporters,
being short of "copy," owing to a dearth of murders and "first
nights," seized on this demise and made his funeral an event.

The truth is, the Ocean House had lived so long in an
atmosphere of ostentatious worldliness that, like many
residents of the summer city, it had come to take itself and
its "position" seriously, and imagine that the eyes of the
country were fixed upon and expected something of it.

The air of Newport has always proved fatal to big hotels.  One
after another they have appeared and failed, the Ocean House
alone dragging out a forlorn existence.  As the flames worked
their will and the careless crowd enjoyed the spectacle, one
could not help feeling a vague regret for the old place, more
for what it represented than for any intrinsic value of its
own.  Without greatly stretching a point it might be taken to
represent a social condition, a phase, as it were, in our
development.  In a certain obscure way, it was an epoch-
marking structure.  Its building closed the era of primitive
Newport, its decline corresponded with the end of the pre-
palatial period - an era extending from 1845 to 1885.

During forty years Newport had a unique existence, unknown to
the rest of America, and destined to have a lasting influence
on her ways, an existence now as completely forgotten as the
earlier boarding-house MATINEE DANSANTE time. *  The sixties,
seventies, and eighties in Newport were pleasant years that
many of us regret in spite of modern progress.  Simple,
inexpensive days, when people dined at three (looking on the
newly introduced six o'clock dinners as an English innovation
and modern "frill"), and "high-teaed" together dyspeptically
off "sally lunns" and "preserves," washed down by coffee and
chocolate, which it was the toilsome duty of a hostess to
dispense from a silver-laden tray; days when "rockaways" drawn
by lean, long-tailed horses and driven by mustached darkies
were, if not the rule, far from being an exception.

* "Newport of the Past," WORLDLY WAYS AND BY-WAYS.

"Dutch treat" picnics, another archaic amusement, flourished
then, directed by a famous organizer at his farm, each guest
being told what share of the eatables it was his duty to
provide, an edict from which there was no appeal.

Sport was little known then, young men passing their
afternoons tooling solemnly up and down Bellevue Avenue in
top-hats and black frock-coats under the burning August sun.

This was the epoch when the Town and Country Club was young
and full of vigor.  We met at each other's houses or at
historic sites to hear papers read on serious subjects.  One
particular afternoon is vivid in my memory.  We had all driven
out to a point on the shore beyond the Third Beach, where the
Norsemen were supposed to have landed during their apocryphal
visit to this continent.  It had been a hot drive, but when we
stopped, a keen wind was blowing in from the sea.  During a
pause in the prolix address that followed, a coachman's voice
was heard to mutter, "If he jaws much longer all the horses
will be foundered," which brought the learned address to an
ignominious and hasty termination.

Newport during the pre-palatial era affected culture, and a
whiff of Boston pervaded the air, much of which was tiresome,
yet with an under-current of charm and refinement.  Those who
had the privilege of knowing Mrs. Julia Ward Howe, will
remember the pleasant "teas" and sparkling conversation she
offered her guests in the unpretending cottage where the
beauty of the daughter was as brilliant as the mother's wit.

Two estates on Bellevue Avenue are now without the hostesses
who, in those days, showed the world what great ladies America
could produce.  It was the foreign-born husband of one of
these women who gave Newport its first lessons in luxurious
living.  Until then Americans had travelled abroad and seen
elaborately served meals and properly appointed stables
without the ambition of copying such things at home.  Colonial
and revolutionary state had died out, and modern extravagance
had not yet appeared.  In the interregnum much was neglected
that might have added to the convenience and grace of life.

In France, under Louis Philippe, and in England, during
Victoria's youth, taste reached an ebb tide; in neither of
those countries, however, did the general standard fall so low
as here.  It was owing to the SAVOIR FAIRE of one man that
Newporters and New York first saw at home what they had
admired abroad, - liveried servants in sufficient numbers,
dinners served A LA RUSSE, and breeched and booted grooms on
English-built traps, innovations quickly followed by his
neighbors, for the most marked characteristic of the American
is his ability to "catch on."

When, during the war of the secession, our Naval Academy was
removed from Annapolis and installed in the empty Atlantic
House (corner of Bellevue Avenue and Pelham Street), hotel
life had already begun to decline; but the Ocean House, which
was considered a vast enterprise at that time, inherited from
the older hotels the custom of giving Saturday evening "hops,"
the cottagers arriving at these informal entertainments toward
nine o'clock and promenading up and down the corridors or
dancing in the parlor, to the admiration of a public collected
to enjoy the spectacle.  At eleven the doors of the dining-
room opened, and a line of well-drilled darkies passed ices
and lemonade.  By half-past eleven (the hour at which we now
arrive at a dance) every one was at home and abed.

One remembers with a shudder the military manoeuvres that
attended hotel meals in those days, the marching and
countermarching, your dinner cooling while the head waiter
reviewed his men.  That idiotic custom has been abandoned,
like many better and worse.  Next to the American ability to
catch on comes the facility with which he can drop a fad.

In this peculiarity the history of Newport has been an epitome
of the country, every form of amusement being in turn taken
up, run into the ground, and then abandoned.  At one time it
was the fashion to drive to Fort Adams of an afternoon and
circle round and round the little green to the sounds of a
military band; then, for no visible reason, people took to
driving on the Third Beach, an inaccessible and lonely point
which for two or three summers was considered the only correct
promenade.

I blush to recall it, but at that time most of the turnouts
were hired hacks.  Next, Graves Point, on the Ocean Drive,
became the popular meeting-place.  Then society took to
attending polo of an afternoon, a sport just introduced from
India.  This era corresponded with the opening of the Casino
(the old reading-room dating from 1854).  For several years
every one crowded during hot August mornings onto the airless
lawns and piazzas of the new establishment.  It seems on
looking back as if we must have been more fond of seeing each
other in those days than we are now.  To ride up and down a
beach and bow filled our souls with joy, and the "cake walk"
was an essential part of every ball, the guests parading in
pairs round and round the room between the dances instead of
sitting quietly "out."  The opening promenade at the New York
Charity Ball is a survival of this inane custom.

The disappearance of the Ocean House "hops" marked the last
stage in hotel life.  Since then better-class watering places
all over the country have slowly but surely followed Newport's
lead.  The closed caravansaries of Bar Harbor and elsewhere
bear silent testimony to the fact that refined Americans are
at last awakening to the charms of home life during their
holidays, and are discarding, as fast as finances will permit,
the pernicious herding system.  In consequence the hotel has
ceased to be, what it undoubtedly was twenty years ago, the
focus of our summer life.

Only a few charred rafters remain of the Ocean House.  A few
talkative old duffers like myself alone survive the day it
represents.  Changing social conditions have gradually placed
both on the retired list.  A new and palatial Newport has
replaced the simpler city.  Let us not waste too much time
regretting the past, or be too sure that it was better than
the present.  It is quite possible, if the old times we are
writing so fondly about should return, we might discover that
the same thing was true of them as a ragged urchin asserted
the other afternoon of the burning building:

"Say, Tom, did ye know there was the biggest room in the world
in that hotel?"

"No; what room?"

"Room for improvement, ya!"




Chapter 27 - SARDOU at Marly-le-Roy


NEAR the centre of that verdant triangle formed by Saint
Cloud, Versailles, and Saint Germain lies the village of
Marly-le-Roy, high up on a slope above the lazy Seine - an
entrancing corner of the earth, much affected formerly by
French crowned heads, and by the "Sun King" in particular, who
in his old age grew tired of Versailles and built here one of
his many villas (the rival in its day of the Trianons), and
proceeded to amuse himself therein with the same solemnity
which had already made vice at Versailles more boresome than
virtue elsewhere.

Two centuries and four revolutions have swept away all trace
of this kingly caprice and the art treasures it contained.
Alone, the marble horses of Coustou, transported later to the
Champs Elysees, remain to attest the splendor of the past.

The quaint village of Marly, clustered around its church,
stands, however - with the faculty that insignificant things
have of remaining unchanged - as it did when the most polished
court of Europe rode through it to and from the hunt.  On the
outskirts of this village are now two forged and gilded
gateways through which the passer-by can catch a glimpse of
trim avenues, fountains, and well-kept lawns.

There seems a certain poetical justice in the fact that
Alexandre Dumas FILS and Victorien Sardou, the two giants of
modern drama, should have divided between them the inheritance
of Louis XIV., its greatest patron.  One of the gates is
closed and moss-grown.  Its owner lies in Pere-la-Chaise.  At
the other I ring, and am soon walking up the famous avenue
bordered by colossal sphinxes presented to Sardou by the late
Khedive.  The big stone brutes, connected in one's mind with
heat and sandy wastes, look oddly out of place here in this
green wilderness - a bite, as it were, out of the forest
which, under different names, lies like a mantle over the
country-side.

Five minutes later I am being shown through a suite of antique
salons, in the last of which sits the great playwright.  How
striking the likeness is to Voltaire, - the same delicate
face, lit by a half cordial, half mocking smile; the same
fragile body and indomitable spirit.  The illusion is enhanced
by our surroundings, for the mellow splendor of the room where
we stand might have served as a background for the Sage of
Ferney.

Wherever one looks, works of eighteenth-century art meet the
eye.  The walls are hung with Gobelin tapestries that fairly
take one's breath away, so exquisite is their design and their
preservation.  They represent a marble colonnade, each column
of which is wreathed with flowers and connected to its
neighbor with garlands.

Between them are bits of delicate landscape, with here and
there a group of figures dancing or picnicking in the shadow
of tall trees or under fantastical porticos.  The furniture of
the room is no less marvellous than its hangings.  One turns
from a harpsichord of vernis-martin to the clock, a relic from
Louis XIV.'s bedroom in Versailles; on to the bric-a-brac of
old Saxe or Sevres in admiring wonder.  My host drifts into
his showman manner, irresistibly comic in this writer.

The pleasures of the collector are apparently divided into
three phases, without counting the rapture of the hunt.
First, the delight a true amateur takes in living among rare
and beautiful things.  Second, the satisfaction of showing
one's treasures to less fortunate mortals, and last, but
perhaps keenest of all, the pride which comes from the fact
that one has been clever enough to acquire objects which other
people want, at prices below their market value.  Sardou
evidently enjoys these three sensations vividly.  That he
lives with and loves his possessions is evident, and the smile
with which he calls your attention to one piece after another,
and mentions what they cost him, attests that the two other
joys are not unknown to him.  He is old enough to remember the
golden age when really good things were to be picked up for
modest sums, before every parvenu considered it necessary to
turn his house into a museum, and factories existed for the
production of "antiques" to be sold to innocent amateurs.

In calling attention to a set of carved and gilded furniture,
covered in Beauvais tapestry, such as sold recently in Paris
at the Valencay sale - Talleyrand collection - for sixty
thousand dollars, Sardou mentions with a laugh that he got his
fifteen pieces for fifteen hundred dollars, the year after the
war, from an old chateau back of Cannes!  One unique piece of
tapestry had cost him less than one-tenth of that sum.  He
discovered it in a peasant's stable under a two-foot layer of
straw and earth, where it had probably been hidden a hundred
years before by its owner, and then all record of it lost by
his descendants.

The mention of Cannes sets Sardou off on another train of
thought.  His family for three generations have lived there.
Before that they were Sardinian fishermen.  His great-
grandfather, he imagines, was driven by some tempest to the
shore near Cannes and settled where he found himself.  Hence
the name!  For in the patois of Provencal France an inhabitant
of Sardinia is still called UN SARDOU.

The sun is off the front of the house by this time, so we
migrate to a shady corner of the lawn for our APERITIF, the
inevitable vermouth or "bitters" which Frenchmen take at five
o'clock.  Here another surprise awaits the visitor, who has
not realized, perhaps, to what high ground the crawling local
train has brought him.  At our feet, far below the lawn and
shade trees that encircle the chateau, lies the Seine,
twisting away toward Saint Germain, whose terrace and
dismantled palace stand outlined against the sky.  To our
right is the plain of Saint Denis, the cathedral in its midst
looking like an opera-glass on a green table.  Further still
to the right, as one turns the corner of the terrace, lies
Paris, a white line on the horizon, broken by the mass of the
Arc de Triomphe, the roof of the Opera, and the Eiffel Tower,
resplendent in a fresh coat of yellow lacquer!

The ground where we stand was occupied by the feudal castle of
Les Sires de Marly; although all traces of that stronghold
disappeared centuries ago, the present owner of the land
points out with pride that the extraordinary beauty of the
trees around his house is owing to the fact that their roots
reach deep down to the rich loam collected during centuries in
the castle's moat.

The little chateau itself, built during the reign of Louis
XIV. for the GRAND-VENEUR of the forest of Marly, is intensely
French in type, - a long, low building on a stone terrace,
with no trace of ornament about its white facade or on its
slanting roof.  Inside, all the rooms are "front,"
communicating with each other EN SUITE, and open into a
corridor running the length of the building at the back,
which, in turn, opens on a stone court.  Two lateral wings at
right angles to the main building form the sides of this
courtyard, and contain LES COMMUNS, the kitchen, laundry,
servants' rooms, and the other annexes of a large
establishment.  This arrangement for a summer house is for
some reason neglected by our American architects.  I can
recall only one home in America built on this plan.  It is
Giraud Foster's beautiful villa at Lenox.  You may visit five
hundred French chateaux and not find one that differs
materially from this plan.  The American idea seems on the
contrary to be a square house with a room in each corner, and
all the servants' quarters stowed away in a basement.  Cottage
and palace go on reproducing that foolish and inconvenient
arrangement indefinitely.

After an hour's chat over our drinks, during host has rippled
on from one subject to another with the lightness of touch of
a born talker, we get on to the subject of the grounds, and
his plans for their improvement.

Good luck has placed in Sardou's hands an old map of the
gardens as they existed in the time of Louis XV., and several
prints of the chateau dating from about the same epoch have
found their way into his portfolios.  The grounds are, under
his care, slowly resuming the appearance of former days.  Old
avenues reopen, statues reappear on the disused pedestals,
fountains play again, and clipped hedges once more line out
the terraced walks.

In order to explain how complete this work will be in time,
Sardou hurries me off to inspect another part of his
collection.  Down past the stables, in an unused corner of the
grounds, long sheds have been erected, under which is stored
the debris of a dozen palaces, an assortment of eighteenth-
century art that could not be duplicated even in France.

One shed shelters an entire semicircle of TREILLAGE, pure
Louis XV., an exquisite example of a lost art.  Columns,
domes, panels, are packed away in straw awaiting resurrection
in some corner hereafter to be chosen.  A dozen seats in rose-
colored marble from Fontainebleau are huddled together near by
in company with a row of gigantic marble masques brought
originally from Italy to decorate Fouquet's fountains at his
chateau of Vaux in the short day of its glory.  Just how this
latter find is to be utilized their owner has not yet decided.
The problem, however, to judge from his manner, is as
important to the great playwright as the plot of his next
drama.

That the blood of an antiquarian runs in Sardou's veins is
evident in the subdued excitement with which he shows you his
possessions - statues from Versailles, forged gates and
balconies from Saint Cloud, the carved and gilded wood-work
for a dozen rooms culled from the four corners of France.
Like the true dramatist, he has, however, kept his finest
effect for the last.  In the centre of a circular rose garden
near by stands, alone in its beauty, a column from the facade
of the Tuileries, as perfect from base to flower-crowned
capital as when Philibert Delorme's workmen laid down their
tools.

Years ago Sardou befriended a young stone mason, who through
this timely aid prospered, and, becoming later a rich builder,
received in 1882 from the city of Paris the contract to tear
down the burned ruins of the Tuileries.  While inspecting the
palace before beginning the work of demolition, he discovered
one column that had by a curious chance escaped both the
flames of the Commune and the patriotic ardor of 1793, which
effaced all royal emblems from church and palace alike.
Remembering his benefactor's love for antiquities with
historical associations, the grateful contractor appeared one
day at Marly with this column on a dray, and insisted on
erecting it where it now stands, pointing out to Sardou with
pride the crowned "H," of Henri Quatre, and the entwined "M.
M." of Marie de Medicis, topped by the Florentine lily in the
flutings of the shaft and on the capital.

A question of mine on Sardou's manner of working led to our
abandoning the gardens and mounting to the top floor of the
chateau, where his enormous library and collection of prints
are stored in a series of little rooms or alcoves, lighted
from the top and opening on a corridor which runs the length
of the building.  In each room stands a writing-table and a
chair; around the walls from floor to ceiling and in huge
portfolios are arranged his books and engravings according to
their subject.  The Empire alcove, for instance, contains
nothing but publications and pictures relating to that epoch.
Roman and Greek history have their alcoves, as have mediaeval
history and the reigns of the different Louis.  Nothing could
well be conceived more conducive to study than this
arrangement, and it makes one realize how honest was the
master's reply when asked what was his favorite amusement.
"Work!" answered the author.

Our conversation, as was fated, soon turned to the enormous
success of ROBESPIERRE in London - a triumph that even
Sardou's many brilliant victories had not yet equalled.

It is characteristic of the French disposition that neither
the author nor any member of his family could summon courage
to undertake the prodigious journey from Paris to London in
order to see the first performance.  Even Sardou's business
agent, M. Roget, did not get further than Calais, where his
courage gave out.  "The sea was so terrible!"  Both those
gentlemen, however, took it quite as a matter of course that
Sardou's American agent should make a three-thousand-mile
journey to be present at the first night.

The fact that the French author resisted Sir Henry Irving's
pressing invitations to visit him in no way indicates a lack
of interest in the success of the play.  I had just arrived
from London, and so had to go into every detail of the
performance, a rather delicate task, as I had been discouraged
with the acting of both Miss Terry and Irving, who have
neither of them the age, voice, nor temperament to represent
either the revolutionary tyrant or the woman he betrayed.  As
the staging had been excellent, I enlarged on that side of the
subject, but when pressed into a corner by the author, had to
acknowledge that in the scene where Robespierre, alone at
midnight in the Conciergerie, sees the phantoms of his victims
advance from the surrounding shadows and form a menacing
circle around him, Irving had used his poor voice with so
little skill that there was little left for the splendid
climax, when, in trying to escape from his ghastly visitors,
Robespierre finds himself face to face with Marie Antoinette,
and with a wild cry, half of horror, half of remorse, falls
back insensible.

In spite of previous good resolutions, I must have given the
author the impression that Sir Henry spoke too loud at the
beginning of this scene and was in consequence inadequate at
the end.

"What!" cried Sardou.  "He raised his voice in that act!  Why,
it's a scene to be played with the soft pedal down!  This is
the way it should be done!"  Dropping into a chair in the
middle of the room my host began miming the gestures and
expression of Robespierre as the phantoms (which, after all,
are but the figments of an over-wrought brain) gather around
him.  Gradually he slipped to the floor, hiding his face with
his upraised elbow, whispering and sobbing, but never raising
his voice until, staggering toward the portal to escape, he
meets the Queen face to face.  Then the whole force of his
voice came out in one awful cry that fairly froze the blood in
my veins!

"What a teacher you would make!" instinctively rose to my lips
as he ended.

With a careless laugh, Sardou resumed his shabby velvet cap,
which had fallen to the floor, and answered: "Oh, it's
nothing!  I only wanted to prove to you that the scene was not
a fatiguing one for the voice if played properly.  I'm no
actor and could not teach, but any one ought to know enough
not to shout in that scene!"

This with some bitterness, as news had arrived that Irving's
voice had given out the night before, and he had been replaced
by his half-baked son in the title role, a change hardly
calculated to increase either the box-office receipts or the
success of the new drama.

Certain ominous shadows which, like Robespierre's visions, had
been for some time gathering in the corners of the room warned
me that the hour had come for my trip back to Paris.
Declining reluctantly an invitation to take potluck with my
host, I was soon in the Avenue of the Sphinx again.  As we
strolled along, talking of the past and its charm, a couple of
men passed us, carrying a piece of furniture rolled in
burlaps.

"Another acquisition?" I asked.  "What epoch has tempted you
this time?"

"I'm sorry you won't stop and inspect it," answered Sardou
with a twinkle in his eye.  "It's something I bought yesterday
for my bedroom.  An armchair!  Pure Loubet!"




Chapter 28 - Inconsistencies


THE dinner had been unusually long and the summer evening
warm.  During the wait before the dancing began I must have
dropped asleep in the dark corner of the piazza where I had
installed myself, to smoke my cigar, away from the other men
and their tiresome chatter of golf and racing.  Through the
open window groups of women could be seen in the ball-room,
and the murmur of their conversation floated out, mingling
with the laughter of the men.

Suddenly, in that casual way peculiar to dreams, I found
myself conversing with a solemn young Turk, standing in all
the splendor of fez and stambouline beside my chair.

"Pardon, Effendi," he was murmuring.  "Is this an American
ball?  I was asked at nine o'clock; it is now past eleven.  Is
there not some mistake?"

"None," I answered.  "When a hostess puts nine o'clock on her
card of invitation she expects her guests at eleven or half-
past, and would be much embarrassed to be taken literally."

As we were speaking, our host rose.  The men, reluctantly
throwing away their cigars, began to enter the ball-room
through the open windows.  On their approach the groups of
women broke up, the men joining the girls where they sat, or
inviting them out to the lantern-lit piazza, where the couples
retired to dim, palm-embowered corners.

"Are you sure I have not made a mistake?" asked my
interlocutor, with a faint quiver of the eyelids.  "It is my
intention, while travelling, to remain faithful to my harem."

I hastened to reassure him and explain that he was in an
exclusive and reserved society.

"Indeed," he murmured incredulously.  "When I was passing
through New York last winter a lady was pointed out to me as
the owner of marvellous jewels and vast wealth, but with
absolutely no social position.  My informant added that no
well-born woman would receive her or her husband.

"It's foolish, of course, but the handsome woman with the
crown on sitting in the centre of that circle, looks very like
the woman I mean.  Am I right?"

"It's the same lady," I answered, wearily.  "You are speaking
of last year.  No one could be induced to call on the couple
then.  Now we all go to their house, and entertain them in
return."

"They have doubtless done some noble action, or the reports
about the husband have been proved false?"

"Nothing of the kind has taken place.  She's a success, and no
one asks any questions!  In spite of that, you are in a
society where the standard of conduct is held higher than in
any country of Europe, by a race of women more virtuous, in
all probability, than has yet been seen.  There is not a man
present," I added, "who would presume to take, or a woman who
would permit, a liberty so slight even as the resting of a
youth's arm across the back of her chair."

While I was speaking, an invisible orchestra began to sigh out
the first passionate bars of a waltz.  A dozen couples rose,
the men clasping in their arms the slender matrons, whose
smiling faces sank to their partners' shoulders.  A blond
mustache brushed the forehead of a girl as she swept by us to
the rhythm of the music, and other cheeks seemed about to
touch as couples glided on in unison.

The sleepy Oriental eyes of my new acquaintance opened wide
with astonishment.

"This, you must understand," I continued, hastily, "is quite
another matter.  Those people are waltzing.  It is considered
perfectly proper, when the musicians over there play certain
measures, for men to take apparent liberties.  Our women are
infinitely self-respecting, and a man who put his arm around a
woman (in public) while a different measure was being played,
or when there was no music, would be ostracized from polite
society."

"I am beginning to understand," replied the Turk.  "The
husbands and brothers of these women guard them very
carefully.  Those men I see out there in the dark are
doubtless with their wives and sisters, protecting them from
the advances of other men.  Am I right?"

"Of course you're not right," I snapped out, beginning to lose
my temper at his obtuseness.  "No husband would dream of
talking to his wife in public, or of sitting with her in a
corner.  Every one would be laughing at them.  Nor could a
sister be induced to remain away from the ball-room with her
brother.  Those girls are `sitting out' with young men they
like, indulging in a little innocent flirtation."

"What is that?" he asked.  "Flirtation?"

"An American custom rather difficult to explain.  It may,
however, be roughly defined as the art of leading a man a long
way on the road to - nowhere!"

"Women flirt with friends or acquaintances, never with members
of their family?"

"The husbands are those dejected individuals wandering
aimlessly about over there like lost souls.  They are mostly
rich men, who, having married beautiful girls for love, wear
themselves out maintaining elaborate and costly establishments
for them.  In return for his labor a husband, however, enjoys
but little of his wife's society, for a really fashionable
woman can rarely be induced to go home until she has collapsed
with fatigue.  In consequence, she contributes little but
`nerves' and temper to the household.  Her sweetest smiles,
like her freshest toilets, are kept for the public.  The
husband is the last person considered in an American
household.  If you doubt what I say, look behind you.  There
is a newly married man speaking with his wife, and trying to
persuade her to leave before the cotillion begins.  Notice his
apologetic air!  He knows he is interrupting a tender
conversation and taking an unwarrantable liberty.  Nothing
short of extreme fatigue would drive him to such an extremity.
The poor millionnaire has hardly left his desk in Wall Street
during the week, and only arrived this evening in time to
dress for dinner.  He would give a fair slice of his income
for a night's rest.  See!  He has failed, and is lighting
another cigar, preparing, with a sigh, for a long wait.  It
will be three before my lady is ready to leave."

After a silence of some minutes, during which he appeared to
be turning these remarks over in his mind, the young Oriental
resumed: "The single men who absorb so much of your women's
time and attention are doubtless the most distinguished of the
nation,  - writers, poets, and statesmen?"

I was obliged to confess that this was not the case; that, on
the contrary, the dancing bachelors were for the most part
impecunious youths of absolutely no importance, asked by the
hostess to fill in, and so lightly considered that a woman did
not always recognize in the street her guests of the evening
before.

At this moment my neighbor's expression changed from
bewilderment to admiration, as a young and very lovely matron
threw herself, panting, into a low chair at his side.  Her
decollete was so daring that the doubts of half an hour before
were evidently rising afresh in his mind.  Hastily resuming my
task of mentor, I explained that a decollete corsage was an
absolute rule for evening gatherings.  A woman who appeared in
a high bodice or with her neck veiled would be considered
lacking in politeness to her hostess as much if she wore a
bonnet.

"With us, women go into the world to shine and charm.  It is
only natural they should use all the weapons nature has given
them."

"Very good!" exclaimed the astonished Ottoman.  "But where
will all this end?  You began by allowing your women to appear
in public with their faces unveiled, then you suppressed the
fichu and the collarette, and now you rob them of half their
corsage.  Where, O Allah, will you stop?"

"Ah!" I answered, laughing, "the tendency of civilization is
to simplify; many things may yet disappear."

"I understand perfectly.  You have no prejudice against women
wearing in public toilets that we consider fitted only for
strict intimacy.  In that case your ladies may walk about the
streets in these costumes?"

"Not at all!" I cried.  "It would provoke a scandal if a woman
were to be seen during the daytime in such attire, either at
home or abroad.  The police and the law courts would
interfere.  Evening dress is intended only for reunions in
private houses, or at most, to be worn at entertainments where
the company is carefully selected and the men asked from lists
prepared by the ladies themselves.  No lady would wear a ball
costume or her jewels in a building where the general public
was admitted.  In London great ladies dine at restaurants in
full evening dress, but we Americans, like the French,
consider that vulgar."

"Yet, last winter," he said, "when passing through New York, I
went to a great theatre, where there were an orchestra and
many singing people.  Were not those respectable women I saw
in the boxes?  There were no MOUCHARABIES to screen them from
the eyes of the public.  Were all the men in that building
asked by special invitation?  That could hardly be possible,
for I paid an entrance fee at the door.  From where I sat I
could see that, as each lady entered her box, opera-glasses
were fixed on her, and her `points,' as you say, discussed by
the crowd of men in the corridors, who, apparently, belonged
to quite the middle class."

"My poor, innocent Padischa, you do not understand at all.
That was the opera, which makes all the difference.  The
husbands of those women pay enormous prices, expressly that
their wives may exhibit themselves in public, decked in jewels
and suggestive toilets.  You could buy a whole harem of fair
Circassians for what one of those little square boxes costs.
A lady whose entrance caused no sensation would feel bitterly
disappointed.  As a rule, she knows little about music, and
cares still less, unless some singer is performing who is paid
a fabulous price, which gives his notes a peculiar charm.
With us most things are valued by the money they have cost.
Ladies attend the opera simply and solely to see their friends
and be admired.

"It grieves me to see that you are forming a poor opinion of
our woman kind, for they are more charming and modest than any
foreign women.  A girl or matron who exhibits more of her
shoulders than you, with your Eastern ideas, think quite
proper, would sooner expire than show an inch above her ankle.
We have our way of being modest as well as you, and that is
one of our strongest prejudices."

"Now I know you are joking," he replied, with a slight show of
temper, "or trying to mystify me, for only this morning I was
on the beach watching the bathing, and I saw a number of
ladies in quite short skirts - up to their knees, in fact -
with the thinnest covering on their shapely extremities.  Were
those women above suspicion?"

"Absolutely," I assured him, feeling inclined to tear my hair
at such stupidity.  "Can't you see the difference?  That was
in daylight.  Our customs allow a woman to show her feet, and
even a little more, in the morning.  It would be considered
the acme of indecency to let those beauties be seen at a ball.
The law allows a woman to uncover her neck and shoulders at a
ball, but she would be arrested if she appeared decollete on
the beach of a morning."

A long silence followed, broken only by the music and laughter
from the ball-room.  I could see my dazed Mohammedan remove
his fez and pass an agitated hand through his dark hair; then
he turned, and saluting me gravely, murmured:

"It is very kind of you to have taken so much trouble with me.
I do not doubt that what you have said is full of the wisdom
and consistency of a new civilization, which I fail to
appreciate."  Then, with a sigh, he added: "It will be better
for me to return to my own country, where there are fewer
exceptions to rules."

With a profound salaam the gentle youth disappeared into the
surrounding darkness, leaving me rubbing my eyes and asking
myself if, after all, the dreamland Oriental was not about
right.  Custom makes many inconsistencies appear so logical
that they no longer cause us either surprise or emotion.  But
can we explain them?




Chapter 29 - Modern "Cadets de Gascogne"


AFTER witnessing the performance given by the Comedie
Francaise in the antique theatre at Orange, we determined - my
companion and I - if ever another opportunity of the kind
offered, to attend, be the material difficulties what they
might.

The theatrical "stars" in their courses proved favorable to
the accomplishment of this vow.  Before the year ended it was
whispered to us that the "Cadets de Gascogne" were planning a
tram through the Cevennes Mountains and their native Languedoc
- a sort of lay pilgrimage to famous historic and literary
shrines, a voyage to be enlivened by much crowning of busts
and reciting of verses in the open air, and incidentally, by
the eating of Gascony dishes and the degustation of delicate
local wines; the whole to culminate with a representation in
the arena at Beziers of DEJANIRE, Louis Gallet's and Saint-
Saens's latest work, under the personal supervision of those
two masters.

A tempting programme, was it not, in these days of cockney
tours and "Cook" couriers?  At any rate, one that we, with
plenty of time on our hands and a weakness for out-of-the-way
corners and untrodden paths, found it impossible to resist.

Rostand, in CYRANO DE BERGERAC, has shown us the "Cadets" of
Moliere's time, a fighting, rhyming, devil-may-care band, who
wore their hearts on their sleeves and chips on their stalwart
shoulders; much such a brotherhood, in short, as we love to
imagine that Shakespeare, Kit Marlowe, Greene, and their
intimates formed when they met at the "Ship" to celebrate a
success or drink a health to the drama.

The men who compose the present society (which has now for
many years borne a name only recently made famous by M.
Rostand's genius) come delightfully near realizing the happy
conditions of other days, and - less the fighting - form as
joyous and picturesque a company as their historic elders.
They are for the most part Southern-born youths, whose
interests and ambitions centre around the stage, devotees at
the altar of Melpomene, ardent lovers of letters and kindred
arts, and proud of the debt that literary France owes to
Gascony.

It is the pleasant custom of this coterie to meet on winter
evenings in unfrequented CAFES, transformed by them for the
time into clubs, where they recite new-made verses, discuss
books and plays, enunciate paradoxes that make the very
waiters shudder, and, between their "bocks," plan vast
revolutions in the world of literature.

As the pursuit of "letters" is, if anything, less lucrative in
France than in other countries, the question of next day's
dinner is also much discussed among these budding Molieres,
who are often forced to learn early in their careers, when
meals have been meagre, to satisfy themselves with rich rhymes
and drink their fill of flowing verse.

From time to time older and more successful members of the
corporation stray back into the circle, laying aside their
laurel crowns and Olympian pose, in the society of the new-
comers to Bohemia.  These honorary members enjoy nothing more
when occasion offers than to escape from the toils of
greatness and join the "Cadets" in their summer journeys to
and fro in France, trips which are made to combine the
pleasures of an outing with the aims of a literary campaign.
It was an invitation to join one of these tramps that tempted
my friend and me away from Paris at the season when that city
is at its best.  Being unable, on account of other
engagements, to start with the cohort from the capital, we
made a dash for it and caught them up at Carcassonne during
the fetes that the little Languedoc city was offering to its
guests.

After having seen Aigues Mortes, it was difficult to believe
that any other place in Europe could suggest more vividly the
days of military feudalism.  St. Louis's tiny city is,
however, surpassed by Carcassonne!

Thanks to twenty years of studious restoration by Viollet le
Duc, this antique jewel shines in its setting of slope and
plain as perfect to-day (seen from the distance) as when the
Crusaders started from its crenelated gates for the conquest
of the Holy Sepulchre.  The acropolis of Carcassonne is
crowned with Gothic battlements, the golden polygon of whose
walls, rising from Roman foundations and layers of ruddy
Visigoth brick to the stately marvel of its fifty towers,
forms a whole that few can view unmoved.

We found the Cadets lunching on the platform of the great
western keep, while a historic pageant organized in their
honor was winding through the steep mediaeval streets - a
cavalcade of archers, men at arms, and many-colored
troubadours, who, after effecting a triumphal entrance to the
town over lowered drawbridges, mounted to unfurl their banner
on our tower.  As the gaudy standard unfolded on the evening
air, Mounet-Sully's incomparable voice breathed the very soul
of the "Burgraves" across the silent plain and down through
the echoing corridors below.  While we were still under the
impression of the stirring lines, he changed his key and
whispered:-


LE SOIR TOMBE. . . . L'HEURE DOUCE
QUI S'ELOIGNE SANS SECOUSSE,
POSE A PEINE SUR LA MOUSSE
SES PIEDS.
UN JOUR INDECIS PERSISTE,
ET LE CREPUSCULE TRISTE
OUVRE SES YEUX D'AMETHYSTE
MOUILLES.


Night came on ere the singing and reciting ended, a balmy
Southern evening, lit by a thousand fires from tower and
battlement and moat, the old walls glowing red against the
violet sky.

Picture this scene to yourself, reader mine, and you will
understand the enthusiasm of the artists and writers in our
clan.  It needed but little imagination then to reconstruct
the past and fancy one's self back in the days when the
"Trancavel" held this city against the world.

Sleep that night was filled with a strange phantasmagoria of
crenelated chateaux and armored knights, until the bright
Provencal sunlight and the call for a hurried departure
dispelled such illusions.  By noon we were far away from
Carcassonne, mounting the rocky slopes of the Cevennes amid a
wild and noble landscape; the towering cliffs of the
"Causses," zebraed by zig-zag paths, lay below us, disclosing
glimpses of fertile valley and vine-engarlanded plain.

One asks one's self in wonder why these enchanting regions are
so unknown.  EN ROUTE our companions were like children fresh
from school, taking haphazard meals at the local inns and
clambering gayly into any conveyance that came to hand.  As
our way led us through the Cevennes country, another charm
gradually stole over the senses.

"I imagine that Citheron must look like this," murmured
Catulle Mendes, as we stood looking down from a sun-baked
eminence, "with the Gulf of Corinth there where you see that
gleam of water."  As he spoke he began declaiming the passage
from Sophocles's OEDIPUS THE KING descriptive if that classic
scene.

Two thousand feet below lay Ispanhac in a verdant valley, the
River Tarn gleaming amid the cultivated fields like a cimeter
thrown on a Turkish carpet.  Our descent was an avalanche of
laughing, singing "Cadets," who rolled in the fresh-cut grass
and chased each other through the ripening vineyards, shouting
lines from tragedies to groups of open-mouthed farm-hands, and
invading the tiny inns on the road with song and tumult.  As
we neared our goal its entire population, headed by the cure,
came out to meet us and offer the hospitality of the town.

In the market-place, one of our number, inspired by the
antique solemnity of the surroundings, burst into the noble
lines of Hugo's DEVANT DIEU, before which the awestruck
population uncovered and crossed themselves, imagining,
doubtless, that it was a religious ceremony.

Another scene recurs vividly to my memory.  We were at St.
Enimie.  I had opened my window to breathe the night air after
the heat and dust of the day and watch the moonlight on the
quaint bridge at my feet.  Suddenly from out the shadows there
rose (like sounds in a dream) the exquisite tone of Sylvain's
voice, alternating with the baritone of d'Esparbes.  They were
seated at the water's edge, intoxicated by the beauty of the
scene and apparently oblivious of all else.

The next day was passed on the Tarn, our ten little boats
following each other single file on the narrow river, winding
around the feet of mighty cliffs, or wandering out into sunny
pasture lands where solitary peasants, interrupted in their
labors, listened in astonishment to the chorus thundered from
the passing boats, and waved us a welcome as we moved by.

Space is lacking to give more than a suggestion of those days,
passed in every known conveyance from the antique diligence to
the hissing trolley, in company with men who seemed to have
left their cares and their years behind them in Paris.

Our last stop before arriving at Beziers was at La Case, where
luncheon was served in the great hall of the chateau.  Armand
Sylvestre presided at the repast; his verses alternated with
the singings of Emma Calve, who had come from her neighboring
chateau to greet her old friends and compatriots, the
"Cadets."

As the meal terminated, more than one among the guests, I
imagine, felt his heart heavy with the idea that to-morrow
would end this pleasant ramble and send him back to the
realities of life and the drudgery of daily bread-winning.

The morning of the great day dawned cloudless and cool.  A
laughing, many-colored throng early invaded the arena, the
women's gay toilets lending it some resemblance to a parterre
of fantastic flowers.  Before the bell sounded its three
strokes that announced the representation, over ten thousand
spectators had taken their places and were studying the
gigantic stage and its four thousand yards of painted canvas.
In the foreground a cluster of Greek palaces and temples
surround a market-place; higher up and further back the city
walls, manned by costumed sentinels, rise against mountains so
happily painted that their outlines blend with nature's own
handiwork in the distance, - a worthy setting for a stately
drama and the valiant company of actors who have travelled
from the capital for this solemnity.

Three hundred hidden musicians, divided into wind and chord
orchestras, accompany a chorus of two hundred executants, and
furnish the music for a ballet of seventy dancers.

As the third stroke dies away, the Muse, Mademoiselle
Rabuteau, enters and declaims the salutation addressed by
Louis Gallet to the City of Beziers.  At its conclusion the
tragedy begins.

This is not the place to describe or criticise at length so
new an attempt at classic restoration.  The author follows the
admirable fable of antiquity with a directness and simplicity
worthy of his Greek model.  The story of Dejanira and Hercules
is too familiar to be repeated here.  The hero's infidelity
and the passion of a neglected woman are related through five
acts logically and forcibly, with the noble music of Saint-
Saens as a background.

We watch the growing affection of the demi-god for the gentle
Iole.  We sympathize with jealous, desperate Dejanira when in
a last attempt to gain back the love of Hercules she persuades
the unsuspecting Iole to offer him a tunic steeped in Nessus's
blood, which Dejanira has been told by Centaur will when
warmed in the sun restore the wearer to her arms.

At the opening of the fifth act we witness the nuptial fetes.
Religious dances and processions circle around the pyre laid
for a marriage sacrifice.  Dejanira, hidden in the throng,
watches in an agony of hope for the miracle to be worked.

Hercules accepts the fatal garment from the hands of his bride
and calls upon the sun-god to ignite the altars.  The pyre
flames, the heat warms the clinging tunic, which wraps
Hercules in its folds of torture.  Writhing in agony, he
flings himself upon the burning pyramid, followed by Dejanira,
who, in despair, sees too late that she has been but a tool in
the hands of Nessus.

No feeble prose, no characters of black or white, can do
justice to the closing scenes of this performance.  The roar
of the chorus, the thunder of the actors' voices, the
impression of reality left on the breathless spectators by the
open-air reality of the scene, the ardent sun, the rustling
wind, the play of light and shade across the stage, the
invocation of Hercules addressed to the real heavens, not to a
painted firmament, combined an effect that few among that vast
concourse will forget.

At the farewell banquet in the arena after the performance,
Georges Leygues, the captain of the Cadets, in answer to a
speech from the Prefect, replied: "You ask about our aims and
purposes and speak in admiration of the enthusiasm aroused by
the passage of our band!

"Our aims are to vivify the traditions and language of our
native land, and the memory of a glorious ancestry, to foster
the love of our little province at the same time as patriotism
for the greater country.  We are striving for a
decentralization of art, for the elevation of the stage; but
above all, we preach a gospel of gayety and healthy laughter,
the science of remaining young at heart, would teach pluck and
good humor in the weary struggle of existence, characteristics
that have marked our countrymen through history!  We have
borrowed a motto from Lope de Vega (that Gascon of another
race), and inscribe `PAR LA LANGUA ET PAR L'EPEE' upon our
banner, that these purposes may be read by the world as it
runs."




Chapter 30 - The Dinner and the Drama


CLAUDE FROLLO, holding the first printed book he had seen in
one hand, and pointing with the other to the gigantic mass of
Notre Dame, dark against the sunset, prophesied "CECI TUERA
CELA."  One might to-day paraphrase the sentence which Victor
Hugo put into his archdeacon's mouth, and pointing to the
elaborately appointed dinner-tables of our generation, assert
that the Dinner was killing the Drama.

New York undoubtedly possesses at this moment more and better
constructed theatres, in proportion to its population, than
any other city on the globe, and, with the single exception of
Paris, more money is probably spent at the theatre by our
people than in any other metropolis.  Yet curiously enough,
each decade, each season widens the breach between our
discriminating public and the stage.  The theatre, instead of
keeping abreast with the intellectual movement of our country,
has for the last thirty years been slowly but steadily
declining, until at this moment there is hardly a company
playing in legitimate comedy, tragedy, or the classic
masterpieces of our language.

In spite of the fact that we are a nation in full literary
production, boasting authors who rank with the greatest of
other countries, there is hardly one poet or prose-writer to-
day, of recognized ability, who works for the stage, nor can
we count more than one or two high-class comedies or lyric
dramas of American origin.

It is not my intention here to criticise the contemporary
stage, although the condition of the drama in America is so
unique and so different from its situation in other countries
that it might well attract the attention of inquiring minds;
but rather to glance at the social causes which have produced
this curious state of affairs, and the strained relations
existing between our elite (here the word is used in its
widest and most elevated sense) and our stage.

There can be little doubt that the deterioration in the class
of plays produced at our theatres has been brought about by
changes in our social conditions.  The pernicious "star"
system, the difficulty of keeping stock companies together,
the rarity of histrionic ability among Americans are
explanations which have at different times been offered to
account for these phenomena.  Foremost, however, among the
causes should be placed an exceedingly simple and prosaic fact
which seems to have escaped notice.  I refer to the
displacement of the dinner hour, and the ceremony now
surrounding that meal.

Forty years ago dinner was still a simple affair, taken at
hours varying from three to five o'clock, and uniting few but
the members of a family, holidays and fetes being the rare
occasions when guests were asked.  There was probably not a
hotel in this country at that time where a dinner was served
later than three o'clock, and Delmonico's, newly installed in
Mr. Moses Grinnell's house, corner of Fourteenth Street and
Fifth Avenue, was the only establishment of its kind in
America, and the one restaurant in New York where ladies could
be taken to dine.  In those tranquil days when dinner parties
were few and dances a rarity, theatre-going was the one ripple
on the quiet stream of home life.  Wallack's, at the corner of
Thirteenth Street and Broadway, Booth's in Twenty-third
Street, and Fechter's in Fourteenth Street were the homes of
good comedy and high-class tragedy.

Along about 1870 the more aristocratically-minded New Yorkers
took to dining at six or six-thirty o'clock; since then each
decade has seen the dinner recede further into the night,
until it is a common occurrence now to sit down to that repast
at eight or even nine o'clock.  Not only has the hour changed,
but the meal itself has undergone a radical transformation, in
keeping with the general increase of luxurious living,
becoming a serious although hurried function.  In consequence,
to go to the theatre and be present at the rising of the
curtain means, for the majority possessing sufficient means to
go often to the play and culture enough to be discriminating,
the disarrangement of the entire machinery of a household as
well as the habits of its inmates.

In addition to this, dozens of sumptuous establishments have
sprung up where the pleasure of eating is supplemented by
allurements to the eye and ear.  Fine orchestras play nightly,
the air is laden with the perfume of flowers, a scenic
perspective of palm garden and marble corridor flatters the
senses.  The temptation, to a man wearied by a day of business
or sport, to abandon the idea of going to a theatre, and
linger instead over his cigar amid these attractive
surroundings, is almost irresistible.

If, however, tempted by some success, he hurries his guests
away from their meal, they are in no condition to appreciate a
serious performance.  The pressure has been too high all day
for the overworked man and his ENERVEE wife to desire any but
the lightest tomfoolery in an entertainment.  People engaged
in the lethargic process of digestion are not good critics of
either elevated poetry or delicate interpretation, and in
consequence crave amusement rather than a mental stimulant.

Managers were quick to perceive that their productions were no
longer taken seriously, and that it was a waste of time and
money to offer high-class entertainments to audiences whom any
nonsense would attract.  When a play like THE SWELL MISS
FITZWELL will pack a New York house for months, and then float
a company on the high tide of success across the continent, it
would be folly to produce anything better.  New York
influences the taste of the country; it is in New York really
that the standard has been lowered.

In answer to these remarks, the question will doubtless be
raised, "Are not the influences which it is asserted are
killing the drama in America at work in England or on the
Continent, where people also dine late and well?"

Yes, and no!  People abroad dine as well, undoubtedly; as
elaborately?  Certainly not!  With the exception of the
English (and even among them dinner-giving has never become so
universal as with us), no other people entertain for the
pleasure of hospitality.  On the Continent, a dinner-party is
always an "axe-grinding" function.  A family who asked people
to dine without having a distinct end in view for such an
outlay would be looked upon by their friends and relatives as
little short of lunatics.  Diplomatists are allowed certain
sums by their governments for entertaining, and are formally
dined in return by their guests.  A great French lady who is
asked to dine out twice a week considers herself fortunate; a
New York woman of equal position hardly dines at home from
December 1 to April 15, unless she is receiving friends at her
own table.

Parisian ladies rarely go to restaurants.  In London there are
not more than three or four places where ladies can be taken
to dine, while in this city there are hundreds; our people
have caught the habit of dining away from home, a custom
singularly in keeping with the American temperament; for,
although it costs more, it is less trouble!

The reason why foreigners do not entertain at dinner is
because they have found other and more satisfactory ways of
spending their money.  This leaves people abroad with a number
of evenings on their hands, unoccupied hours that are
generally passed at the theatre.  Only the other day a
diplomatist said to me, "I am surprised to see how small a
place the theatre occupies in your thoughts and conversation.
With us it is the pivot around which life revolves."

From one cause or another, not only the wealthy, but the
thoughtful and cultivated among us, go less each year to the
theatre.  The abstinence of this class is the most
significant, for well-read, refined, fastidious citizens are
the pride of a community, and their influence for good is far-
reaching.  Of this elite New York has more than its share, but
you will not meet them at the play, unless Duse or Jefferson,
Bernhardt or Coquelin is performing.  The best only tempts
such minds.  It was by the encouragement of this class that
Booth was enabled to give HAMLET one hundred consecutive
evenings, and Fechter was induced to linger here and build a
theatre.

In comparison with the verdicts of such people, the opinions
of fashionable sets are of little importance.  The latter long
ago gave up going to the play in New York, except during two
short seasons, one in the autumn, "before things get going,"
and again in the spring, after the season is over, before they
flit abroad or to the country.  During these periods "smart"
people generally attend in bands called "theatre parties," an
infliction unknown outside of this country, an arrangement
above all others calculated to bring the stage into contempt,
as such parties seldom arrive before the middle of the second
act, take ten minutes to get seated, and then chat gayly among
themselves for the rest of the evening.

The theatre, having ceased to form an integral part of our
social life, has come to be the pastime of people with nothing
better to do, - the floating population of our hotels, the
shop-girl and her young man enjoying an evening out.  The
plays produced by the gentlemen who, I am told, control the
stage in this country for the moment, are adapted to the
requirements of an audience that, having no particular
standard from which to judge the literary merits of a play,
the training, accent, or talent of the actors, are perfectly
contented so long as they are amused.  To get a laugh, at any
price, has become the ambition of most actors and the dream of
managers.

A young actress in a company that played an American
translation of MME.  SANS GENE all over this continent asked
me recently what I thought of their performance.  I said I
thought it "a burlesque of the original!"  "If you thought it
a burlesque here in town," she answered, "it's well you didn't
see us on the road.  There was no monkey trick we would not
play to raise a laugh."

If one of my readers doubts the assertion that the better
classes have ceased to attend our theatres, except on rare
occasions, let him inquire about, among the men and women
whose opinions he values and respects, how many of last
winter's plays they considered intellectual treats, or what
piece tempted them to leave their cosy dinner-tables a second
time.  It is surprising to find the number who will answer in
reply to a question about the merits of a play EN VOGUE, "I
have not seen it.  In fact I rarely go to a theatre unless I
am in London or on the Continent!"

Little by little we have taken to turning in a vicious and
ever-narrowing circle.  The poorer the plays, the less clever
people will make the effort necessary to see them, and the
less such elite attend, the poorer the plays will become.

That this state of affairs is going to last, however, I do not
believe.  The darkest hour is ever the last before the dawn.
As it would he difficult for the performances in most of our
theatres to fall any lower in the scale of frivolity or
inanity, we may hope for a reaction that will be deep and far-
reaching.  At present we are like people dying of starvation
because they do not know how to combine the flour and water
and yeast before them into wholesome bread.  The materials for
a brilliant and distinctly national stage undoubtedly exist in
this country.  We have men and women who would soon develop
into great actors if they received any encouragement to devote
themselves to a higher class of work, and certainly our great
city does not possess fewer appreciative people than it did
twenty years ago.

The great dinner-giving mania will eat itself out; and
managers, feeling once more that they can count on
discriminating audiences, will no longer dare to give garbled
versions of French farces or feeble dramas as compiled from
English novels, but, turning to our own poets and writers,
will ask them to contribute towards the formation of an
American stage literature.

When, finally, one of our poets gives us a lyric drama like
CYRANO DE BERGERAC, the attractions of the dinner-table will
no longer be strong enough to keep clever people away from the
theatre, and the following conversation, which sums up the
present situation, will become impossible.

BANKER (to Crushed Tragedian). - No, I haven't seen you act.
I have not been inside a theatre for two years!

C.T. - It's five years since I've been inside a bank!




Chapter 31 - The Modern ASPASIA


MOST of the historic cities of Europe have a distinct local
color, a temperament, if one may be allowed the expression, of
their own.  The austere calm of Bruges or Ghent, the sensuous
beauty of Naples, attract different natures.  Florence has
passionate devotees, who are insensible to the artistic grace
of Venice or the stately quiet of Versailles.  In Cairo one
experiences an exquisite BIEN ETRE, a mindless, ambitionless
contentment which, without being languor, soothes the nerves
and tempts to indolent lotus-eating.  Like a great hive, Rome
depends on the memories that circle around her, storing, like
bees, the centuries with their honey.  Each of these cities
must therefore leave many people unmoved, who after a passing
visit, wander away, wondering at the enthusiasm of the
worshippers.

Paris alone seems to possess the charm that bewitches all
conditions, all ages, all degrees.  To hold the frivolous-
minded she paints her face and dances, leading them a round of
folly, exhaustive alike to health and purse.  For the student
she assumes another mien, smiling encouragement, and urging
him upward towards the highest standards, while posing as his
model.  She takes the dreaming lover of the past gently by the
hand, and leading him into quiet streets and squares where she
has stored away a wealth of hidden treasure, enslaves him as
completely as her more sensual admirers.

Paris is no less adored by the vacant-minded, to whom neither
art nor pleasure nor study appeal.  Her caprices in fashion
are received by the wives and daughters of the universe as
laws, and obeyed with an unwavering faith, a mute obedience
that few religions have commanded.  Women who yawn through
Italy and the East have, when one meets them in the French
capital, the intense manner, the air of separation from things
mundane, that is observable in pilgrims approaching the shrine
of their deity.  Mohammedans at Mecca must have some such
look.  In Paris women find themselves in the presence of those
high priests whom they have long worshipped from a distance.
It is useless to mention other subjects to the devotee, for
they will not fix her attention.  Her thoughts are with her
heart, and that is far away.

When visiting other cities one feels that they are like honest
married women, living quiet family lives, surrounded by their
children.  The French Aspasia, on the contrary, has never been
true to any vow, but has, at the dictate of her passions,
changed from royal and imperial to republican lovers, and back
again, ruled by no laws but her caprices, and discarding each
favorite in turn with insults when she has wearied of him.
Yet sovereigns are her slaves, and leave their lands to linger
in her presence; and rich strangers from the four corners of
the earth come to throw their fortunes at her feet and bask a
moment in her smiles.

Like her classic prototype, Paris is also the companion of the
philosophers and leads the arts in her train.  Her palaces are
the meeting-places of the poets, the sculptors, the
dramatists, and the painters, who are never weary of
celebrating her perfections, nor of working for her adornment
and amusement.

Those who live in the circle of her influence are caught up in
a whirlwind of artistic production, and consume their brains
and bodies in the vain hope of pleasing their idol and
attracting her attention.  To be loved by Paris is an ordeal
that few natures can stand, for she wrings the lifeblood from
her devotees and then casts them aside into oblivion.  Paris,
said one of her greatest writers, "AIME A BRISER SES IDOLES!"
As Ulysses and his companions fell, in other days, a prey to
the allurements of Circe, so our powerful young nation has
fallen more than any other under the influence of the French
siren, and brings her a yearly tribute of gold which she
receives with avidity, although in her heart there is little
fondness for the giver.

Americans who were in Paris two years ago had an excellent
opportunity of judging the sincerity of Parisian affection,
and of sounding the depth and unselfishness of the love that
this fickle city gives us in return for our homage.  Not for
one moment did she hesitate, but threw the whole weight of her
influence and wit into the scale for Spain.  If there is not
at this moment a European alliance against America it is not
from any lack of effort on her part towards that end.

The stand taken by LA VILLA LUMIERE in that crisis caused many
naive Americans, who believed that their weakness for the
French capital was returned, a painful surprise.  They
imagined in the simplicity of their innocent hearts that she
loved them for themselves, and have awakened, like other rich
lovers, to the humiliating knowledge that a penniless neighbor
was receiving the caresses that Croesus paid for.  Not only
did the entire Parisian press teem at that moment with covert
insults directed towards us, but in society, at the clubs and
tables of the aristocracy, it was impossible for an American
to appear with self-respect, so persistently were our actions
and our reasons for undertaking that war misunderstood and
misrepresented.  In the conversation of the salons and in the
daily papers it was assumed that the Spanish were a race of
noble patriots, fighting in the defence of a loved and loyal
colony, while we were a horde of blatant cowards, who had long
fermented a revolution in Cuba in order to appropriate that
coveted island.

When the Spanish authorities allowed an American ship
(surprised in one of her ports by the declaration of war) to
depart unharmed, the fact was magnified into an act of almost
ideal generosity; on the other hand, when we decided not to
permit privateering, that announcement was received with
derisive laughter as a pretentious pose to cover hidden
interests.  There is reason to believe, however, that this
feeling in favor of Spain goes little further than the press
and the aristocratic circles so dear to the American
"climber"; the real heart of the French nation is as true to
us as when a century ago she spent blood and treasure in our
cause.  It is the inconstant capital alone that, false to her
role of liberator, has sided with the tyrant.

Yet when I wander through her shady parks or lean over her
monumental quays, drinking in the beauty of the first spring
days, intoxicated by the perfume of the flowers that the night
showers have kissed into bloom; or linger of an evening over
my coffee, with the brilliant life of the boulevards passing
like a carnival procession before my eyes; when I sit in her
theatres, enthralled by the genius of her actors and
playwrights, or stand bewildered before the ten thousand
paintings and statues of the Salon, I feel inclined, like a
betrayed lover, to pardon my faithless mistress: she is too
lovely to remain long angry with her.  You realize she is
false and will betray you again, laughing at you, insulting
your weakness; but when she smiles all faults are forgotten;
the ardor of her kisses blinds you to her inconstancy; she
pours out a draught that no other hands can brew, and clasps
you in arms so fair that life outside those fragile barriers
seems stale and unprofitable.




Chapter 32 - A Nation in a Hurry


IN early days of steam navigation on the Mississippi, the
river captains, it is said, had the playful habit, when
pressed for time or enjoying a "spurt" with a rival, of
running their engines with a darky seated on the safety-valve.

One's first home impression after a season of lazy Continental
travelling and visiting in somnolent English country houses,
is that an emblematical Ethiopian should be quartered on our
national arms.

Zola tells us in NOUVELLE CAMPAGNE that his vivid impressions
are all received during the first twenty-four hours in a new
surrounding, - the mind, like a photographic film, quickly
losing its sensibility.

This fleeting receptiveness makes returning Americans
painfully conscious of nerves in the home atmosphere, and the
headlong pace at which our compatriots are living.

The habit of laying such faults to the climate is but a poor
excuse.  Our grandparents and their parents lived peaceful
lives beneath these same skies, undisturbed by the morbid
influences that are supposed to key us to such a painful
concert pitch.

There was an Indian summer languor in the air as we steamed up
the bay last October, that apparently invited repose; yet no
sooner had we set foot on our native dock, and taken one good
whiff of home air, than all our acquired calm disappeared.
People who ten days before would have sat (at a journey's end)
contentedly in a waiting-room, while their luggage was being
sorted by leisurely officials, now hustle nervously about,
nagging the custom-house officers and egging on the porters,
as though the saving of the next half hour were the prime
object of existence.

Considering how extravagant we Americans are in other ways it
seems curious that we should be so economical of time!  It was
useless to struggle against the current, however, or to
attempt to hold one's self back.  Before ten minutes on shore
had passed, the old, familiar, unpleasant sensation of being
in a hurry took possession of me!  It was irresistible and
all-pervading; from the movements of the crowds in the streets
to the whistle of the harbor tugs, everything breathed of
haste.  The very dogs had apparently no time to loiter, but
scurried about as though late for their engagements.

The transit from dock to hotel was like a visit to a new
circle in the INFERNO, where trains rumble eternally overhead,
and cable cars glide and block around a pale-faced throng of
the damned, who are forced, in expiation of their sins, to
hasten forever toward an unreachable goal.

A curious curse has fallen upon our people; an "influence" is
at work which forces us to attempt in an hour just twice as
much as can be accomplished in sixty minutes.  "Do as well as
you can," whispers the "influence," "but do it quickly!"  That
motto might be engraved upon the fronts of our homes and
business buildings.

It is on account of this new standard that rapidity in a
transaction on the Street is appreciated more than correctness
of detail.  A broker to-day will take more credit for having
received and executed an order for Chicago and returned an
answer within six minutes, than for any amount of careful
work.  The order may have been ill executed and the details
mixed, but there will have been celerity of execution to boast
of

The young man who expects to succeed in business to-day must
be a "hustler," have a snap-shot style in conversation,
patronize rapid transit vehicles, understand shorthand, and
eat at "breathless breakfasts."

Being taken recently to one of these establishments for "quick
lunch," as I believe the correct phrase is, to eat buckwheat
cakes (and very good they were), I had an opportunity of
studying the ways of the modern time-saving young man.

It is his habit upon entering to dash for the bill-of-fare,
and give an order (if he is adroit enough to catch one of the
maids on the fly) before removing either coat or hat.  At
least fifteen seconds may be economized in this way.  Once
seated, the luncher falls to on anything at hand; bread, cold
slaw, crackers, or catsup.  When the dish ordered arrives, he
gets his fork into it as it appears over his shoulder, and has
cleaned the plate before the sauce makes its appearance, so
that is eaten by itself or with bread.

Cups of coffee or tea go down in two swallows.  Little piles
of cakes are cut in quarters and disappear in four mouthfuls,
much after the fashion of children down the ogre's throat in
the mechanical toy, mastication being either a lost art or
considered a foolish waste of energy.

A really accomplished luncher can assimilate his last quarter
of cakes, wiggle into his coat, and pay his check at the desk
at the same moment.  The next, he is down the block in pursuit
of a receding trolley.

To any one fresh from the Continent, where the entire
machinery of trade comes to a stand-still from eleven to one
o'clock, that DEJEUNER may be taken in somnolent tranquillity,
the nervous tension pervading a restaurant here is prodigious,
and what is worse - catching!  During recent visits to the
business centres of our city, I find that the idea of eating
is repugnant.  It seems to be wrong to waste time on anything
so unproductive.  Last week a friend offered me a "luncheon
tablet" from a box on his desk.  "It's as good as a meal," he
said, "and so much more expeditious!"

The proprietor of one down-town restaurant has the stock
quotations exhibited on a black-board at the end of his room;
in this way his patrons can keep in touch with the "Street" as
they hurriedly stoke up.

A parlor car, toward a journey's end, is another excellent
place to observe our native ways.  Coming from Washington the
other day my fellow-passengers began to show signs of
restlessness near Newark.  Books and papers were thrown aside;
a general "uprising, unveiling" followed, accompanied by our
objectionable custom of having our clothes brushed in each
other's faces.  By the time Jersey City appeared on the
horizon, every man, woman, and child in that car was jammed,
baggage in hand, into the stuffy little passage which precedes
the entrance, swaying and staggering about while the train
backed and delayed.

The explanation of this is quite simple.  The "influence" was
at work, preventing those people from acting like other
civilized mortals, and remaining seated until their train had
come to a standstill.

Being fresh from the "other side," and retaining some of my
acquired calm, I sat in my chair!  The surprise on the faces
of the other passengers warned me, however, that it would not
be safe to carry this pose too far.  The porter, puzzled by
the unaccustomed sight, touched me kindly on the shoulder, and
asked if I "felt sick"!  So now, to avoid all affectation of
superiority, I struggled into my great-coat, regardless of
eighty degrees temperature in the car, and meekly joined the
standing army of martyrs, to hurry, scampering with them from
the still-moving car to the boat, and on to the trolley before
the craft had been moored to its landing pier.

In Paris, on taking an omnibus, you are given a number and the
right to the first vacant seat.  When the places in a "bus"
are all occupied it receives no further occupants.  Imagine a
traction line attempting such a reform here!  There would be a
riot, and the conductors hanged to the nearest trolley-poles
in an hour!

To prevent a citizen from crowding into an over-full vehicle,
and stamping on its occupants in the process, would be to
infringe one of his dearest privileges, not to mention his
chance of riding free.

A small boy of my acquaintance tells me he rarely finds it
necessary to pay in a New York car.  The conductors are too
hurried and too preoccupied pocketing their share of the
receipts to keep count.  "When he passes, I just look blank!"
remarked the ingenious youth.

Of all the individuals, however, in the community, our idle
class suffer the most acutely from lack of time, though, like
Charles Lamb's gentleman, they have all there is.

From the moment a man of leisure, or his wife, wakens in the
morning until they drop into a fitful slumber at night, their
day is an agitated chase.  No matter where or when you meet
them, they are always on the wing.

"Am I late again?" gasped a thin little woman to me the other
evening, as she hurried into the drawing-room, where she had
kept her guests and dinner waiting.  "I've been so driven all
day, I'm a wreck!"  A glance at her hatchet-faced husband
revealed the fact that he, too, was chasing after a stray
half-hour lost somewhere in his youth.  His color and most of
his hair had gone in its pursuit, while his hands had acquired
a twitch, as though urging on a tired steed.

Go and ask that lady for a cup of tea at twilight; ten to one
she will receive you with her hat on, explaining that she has
not had time to take it off since breakfast.  If she writes to
you, her notes are signed, "In great haste," or "In a tearing
hurry."  She is out of her house by half-past eight on most
mornings, yet when calling she sits on the edge of her chair,
and assures you that she has not a moment to stay, "has only
run in," etc.

Just what drives her so hard is a mystery, for beyond a vague
charity meeting or two and some calls, she accomplishes
little.  Although wealthy and childless, with no cares and few
worries, she succumbs to nervous prostration every two or
three years, "from overwork."

Listen to a compatriot's account of his European trip!  He
will certainly tell you how short the ocean crossing was,
giving hours and minutes with zest, as though he had got ahead
of Father Time in a transaction.  Then follows a list of the
many countries seen during his tour.

I know a lady lying ill to-day because she would hurry herself
and her children, in six weeks last summer, through a
Continental tour that should have occupied three months.  She
had no particular reason for hurrying; indeed, she got ahead
of her schedule, and had to wait in Paris for the steamer; a
detail, however, that in no way diminished madame's pleasure
in having done so much during her holiday.  This same lady
deplores lack of leisure hours, yet if she finds by her
engagement book that there is a free week ahead, she will run
to Washington or Lakewood, "for a change," or organize a party
to Florida.

To realize how our upper ten scramble through existence, one
must also contrast their fidgety way of feeding with the
bovine calm in which a German absorbs his nourishment and the
hours Italians can pass over their meals; an American dinner
party affords us the opportunity.

There is an impression that the fashion for quickly served
dinners came to us from England.  If this is true (which I
doubt; it fits too nicely with our temperament to have been
imported), we owe H.R.H. a debt of gratitude, for nothing is
so tiresome as too many courses needlessly prolonged.

Like all converts, however, we are too zealous.  From oysters
to fruit, dinners now are a breathless steeplechase, during
which we take our viand hedges and champagne ditches at a dead
run, with conversation pushed at much the same speed.  To be
silent would be to imply that one was not having a good time,
so we rattle and gobble on toward the finger-bowl winning-
post, only to find that rest is not there!

As the hostess pilots the ladies away to the drawing-room, she
whispers to her spouse, "You won't smoke long, will you?"  So
we are mulcted in the enjoyment of even that last resource of
weary humanity, the cigar, and are hustled away from that and
our coffee, only to find that our appearance is a signal for a
general move.

One of the older ladies rises; the next moment the whole
circle, like a flock of frightened birds, are up and off,
crowding each other in the hallway, calling for their
carriages, and confusing the unfortunate servants, who are
trying to help them into their cloaks and overshoes.

Bearing in mind that the guests come as late as they dare,
without being absolutely uncivil, that dinners are served as
rapidly as is physically possible, and that the circle breaks
up as soon as the meal ends, one asks one's self in wonder
why, if a dinner party is such a bore that it has to be
scrambled through, COUTE QUE COUTE, we continue to dine out?

It is within the bounds of possibility that people may have
reasons for hurrying through their days, and that dining out A
LA LONGUE becomes a weariness.

The one place, however, where you might expect to find people
reposeful and calm is at the theatre.  The labor of the day is
then over; they have assembled for an hour or two of
relaxation and amusement.  Yet it is at the play that our
restlessness is most apparent.  Watch an audience (which, be
it remarked in passing, has arrived late) during the last ten
minutes of a performance.  No sooner do they discover that the
end is drawing near than people begin to struggle into their
wraps.  By the time the players have lined up before the
footlights the house is full of disappearing backs.

Past, indeed, are the unruffled days when a heroine was
expected (after the action of a play had ended) to deliver the
closing ENVOI dear to the writers of Queen Anne's day.
Thackeray writes:-


THE PLAY IS DONE!  THE CURTAIN DROPS,
SLOW FALLING TO THE PROMPTER'S BELL!
A MOMENT YET THE ACTOR STOPS,
AND LOOKS AROUND, TO SAY FAREWELL!


A comedian who attempted any such abuse of the situation to-
day would find himself addressing empty benches.  Before he
had finished the first line of his epilogue, most of his
public would be housed in the rapid transit cars.  No talent,
no novelty holds our audiences to the end of a performance.

On the opening night of the opera season this winter, one
third of the "boxes" and orchestra stalls were vacant before
Romeo (who, being a foreigner, was taking his time) had
expired.

One overworked matron of my acquaintance has perfected an
ingenious and time-saving combination.  By signalling from a
window near her opera box to a footman below, she is able to
get her carriage at least two minutes sooner than her
neighbors.

During the last act of an opera like TANN-HAUSER or FAUST, in
which the inconsiderate composer has placed a musical gem at
the end, this lady is worth watching.  After getting into her
wraps and overshoes she stands, hand on the door, at the back
of her box, listening to the singers; at a certain moment she
hurries to the window, makes her signal, scurries back, hears
Calve pour her soul out in ANGES PURS, ANGES RADIEUX, yet
manages to get down the stairs and into her carriage before
the curtain has fallen.

We deplore the prevailing habit of "slouch"; yet if you think
of it, this universal hurry is the cause of it.  Our cities
are left unsightly, because we cannot spare time to beautify
them.  Nervous diseases are distressingly prevalent; still we
hurry! hurry!! hurry!!! until, as a diplomatist recently
remarked to me, the whole nation seemed to him to be but five
minutes ahead of an apoplectic fit.

The curious part of the matter is that after several weeks at
home, much that was strange at first becomes quite natural to
the traveller, who finds himself thinking with pity of
benighted foreigners and their humdrum ways, and would resent
any attempts at reform.

What, for instance, would replace for enterprising souls the
joy of taking their matutinal car at a flying leap, or the
rapture of being first out of a theatre?  What does part of a
last act or the "star song" matter in comparison with five
minutes of valuable time to the good?  Like the river
captains, we propose to run under full head of steam and get
there, or b- explode!




Chapter 33 - The Spirit of History


BUILDINGS become tombs when the race that constructed them has
disappeared.  Libraries and manuscripts are catacombs where
most of us might wander in the dark forever, finding no issue.
To know dead generations and their environments through these
channels, to feel a love so strong that it calls the past
forth from its winding-sheet, and gives it life again, as
Christ did Lazarus, is the privilege only of great historians.

France is honoring the memory of such a man at this moment;
one who for forty years sought the vital spark of his
country's existence, striving to resuscitate what he called
"the great soul of history," as it developed through
successive acts of the vast drama.  This employment of his
genius is Michelet's title to fame.

In a sombre structure, the tall windows of which look across
the Luxembourg trees to the Pantheon, where her husband's bust
has recently been placed, a widow preserves with religious
care the souvenirs of this great historian.  Nothing that can
recall either his life or his labor is changed.

Madame Michelet's life is in strange contrast with the ways of
the modern spouse who, under pretext of grief, discards and
displaces every reminder of the dead.  In our day, when the
great art is to forget, an existence consecrated to a memory
is so rare that the world might be the better for knowing that
a woman lives who, young and beautiful, was happy in the
society of an old man, whose genius she appreciated and
cherished, who loves him dead as she loved him living.  By her
care the apartment remains as it stood when he left it, to die
at Hyeres, - the furniture, the paintings, the writing-table.
No stranger has sat in his chair, no acquaintance has drunk
from his cup.  This woman, who was a perfect wife and now
fills one's ideal of what a widow's life should be, has
constituted herself the vigilant guardian of her husband's
memory.  She loves to talk of the illustrious dead, and tell
how he was fond of saying that Virgil and Vico were his
parents.  Any one who reads the GEORGICS or THE BIRD will see
the truth of this, for he loved all created things, his ardent
spiritism perceiving that the essence which moved the ocean's
tides was the same that sang in the robin at the window during
his last illness, which he called his "little captive soul."

The author of LA BIBLE DE L'HUMANITE had to a supreme degree
the love of country, and possessed the power of reincarnating
with each succeeding cycle of its history.  So luminous was
his mind, so profound and far-reaching his sympathy, that he
understood the obscure workings of the mediaeval mind as
clearly as he appreciated Mirabeau's transcendent genius.  He
believed that humanity, like Prometheus, was self-made; that
nations modelled their own destiny during the actions and
reactions of history, as each one of us acquires a personality
through the struggles and temptations of existence, by the
evolving power every soul carries within itself.

Michelet taught that each nation was the hero of its own
drama; that great men have not been different from the rest of
their race - on the contrary, being the condensation of an
epoch, that, no matter what the apparent eccentricities of a
leader may have been, he was the expression of a people's
spirit.  This discovery that a race is transformed by its
action upon itself and upon the elements it absorbs from
without, wipes away at a stroke the popular belief in
"predestined races" or providential "great men" appearing at
crucial moments and riding victorious across the world.

An historian, if what he writes is to have any value, must
know the people, the one great historical factor.  Radicalism
in history is the beginning of truth.  Guided by this light of
his own, Michelet discovered a fresh factor heretofore
unnoticed, that vast fermentation which in France transforms
all foreign elements into an integral part of the country's
being.  After studying his own land through the thirteen
centuries of her growth, from the chart of Childebert to the
will of Louis XVI., Michelet declared that while England is a
composite empire and Germany a region, France is a
personality.  In consequence he regarded the history of his
country as a long dramatic poem.  Here we reach the inner
thought of the historian, the secret impulse that guided his
majestic pen.

The veritable hero of his splendid Iliad is at first ignorant
and obscure, seeking passionately like OEdipus to know
himself.  The interest of the piece is absorbing.  We can
follow the gradual development of his nature as it becomes
more attractive and sympathetic with each advancing age,
until, through the hundred acts of the tragedy, he achieves a
soul.  For Michelet to write the history of his country was to
describe the long evolution of a hero.  He was fond of telling
his friends that during the Revolution of July, while he was
making his translation of Vico, this great fact was revealed
to him in the blazing vision of a people in revolt.  At that
moment the young and unknown author resolved to devote his
life, his talents, his gift of clairvoyance, the magic of his
inimitable style and creative genius, to fixing on paper the
features seen in his vision.

Conceived and executed in this spirit, his history could be
but a stupendous epic, and proves once again the truth of
Aristotle's assertion that there is often greater truth in
poetry than in prose.

Seeking in the remote past for the origin of his hero,
Michelet pauses first before THE CATHEDRAL.  The poem begins
like some mediaeval tale.  The first years of his youthful
country are devoted to a mystic religion.  Under his ardent
hands vast naves rise and belfries touch the clouds.  It is
but a sad and cramped development, however; statutes restrain
his young ardor and chill his blood.  It is not until the boy
is behind the plough in the fields and sunlight that his real
life begins - a poor, brutish existence, if you will, but
still life.  The "Jacques," half man and half beast, of the
Middle Ages is the result of a thousand years of suffering.

A woman's voice calls this brute to arms.  An enemy is
overrunning the land.  Joan the virgin - "my Joan," Michelet
calls her - whose heart bleeds when blood is shed, frees her
country.  A shadow, however, soon obscures this gracious
vision from Jacques's eyes.  The vast monarchical incubus
rises between the people and their ideal.  Our historian turns
in disgust from the later French kings.  He has neither time
nor heart to write their history, so passes quickly from Louis
XI. to the great climax of his drama - the Revolution.  There
we find his hero, emerging at last from tyranny and
oppression.  Freedom and happiness are before him.  Alas! his
eyes, accustomed to the dim light of dungeons, are dazzled by
the sun of liberty; he strikes friend and foe alike.

In the solitary galleries of the "Archives" Michelet communes
with the great spirits of that day, Desaix, Marceau, Kleber, -
elder sons of the Republic, who whisper many secrets to their
pupil as he turns over faded pages tied with tri-colored
ribbons, where the cities of France have written their
affection for liberty, love-letters from Jacques to his
mistress.  Michelet is happy.  His long labor is drawing to an
end.  The great epic which he has followed as it developed
through the centuries is complete.  His hero stands hand in
hand before the altar with the spouse of his choice, for whose
smile he has toiled and struggled.  The poet-historian sees
again in the FETE DE LA FEDERATION the radiant face of his
vision, the true face of France, LA DULCE.

Through all the lyricism of this master's work one feels that
he has "lived" history as he wrote it, following his subject
from its obscure genesis to a radiant apotheosis.  The
faithful companion of Michelet's age has borne witness to this
power which he possessed of projecting himself into another
age and living with his subject.  She repeats to those who
know her how he trembled in passion and burned with patriotic
emotion in transcribing the crucial pages of his country's
history, rejoicing in her successes and depressed by her
faults, like the classic historian who refused with horror to
tell the story of his compatriots' defeat at Cannae, saying,
"I could not survive the recital."

"Do you remember," a friend once asked Madame Michelet, "how,
when your husband was writing his chapters on the Reign of
Terror, he ended by falling ill?"

"Ah, yes!" she replied.  "That was the week he executed
Danton.  We were living in the country near Nantes.  The
ground was covered with snow.  I can see him now, hurrying to
and fro under the bare trees, gesticulating and crying as he
walked, `How can I judge them, those great men?  How can I
judge them?'  It was in this way that he threw his `thousand
souls' into the past and lived in sympathy with all men, an
apostle of universal love.  After one of these fecund hours he
would drop into his chair and murmur, `I am crushed by this
work.  I have been writing with my blood!'"

Alas, his aged eyes were destined to read sadder pages than he
had ever written, to see years as tragic as the "Terror."  He
lived to hear the recital of (having refused to witness) his
country's humiliation, and fell one April morning, in his
retirement near Pisa, unconscious under the double shock of
invasion and civil war.  Though he recovered later, his
horizon remained dark.  The patriot suffered to see party
spirit and warring factions rending the nation he had so often
called the pilot of humanity's bark, which seemed now to be
going straight on the rocks.  "FINIS GALLIAE," murmured the
historian, who to the end lived and died with his native land.

Thousands yearly mount the broad steps of the Pantheon to lay
their wreaths upon his tomb, and thousands more in every
Gallic schoolroom are daily learning, in the pages of his
history, to love FRANCE LA DULCE.





End of the Project Gutenberg eText The Ways Of Men