Chapter IV: Part 4

And I found that he had not painted the lily in too glowing terms. I followed other pages that night--some calling for "Mr. Strudel," some for "Mr. Carmickle," and one was broad-minded enough to page a "Mrs. Bemis." But they all came back with that wan look in their eyes and a break in their voices.

And each one of them was stopped by the man in the business suit in the downstairs dining-room and each time he considered it a personal affront that there wasn't a call for "Studz."

Some time I'm going to have him paged, and when he comes out I shall untie his necktie for him.

XIV

FOOTBALL; COURTESY OF MR. MORSE

Sunday morning these fine fall days are taken up with reading about the "40,000 football enthusiasts" or the "gaily-bedecked crowd of 60,000 that watched the game on Saturday." And so they probably did, unless there were enough men in big fur coats who jumped up at every play and yelled "Now we're off!" thus obstructing the view of an appreciable percentage.

But why stop at the mention of the paltry 50,000 who sat in the Bowl or the Stadium? Why forget the twice 50,000 all over the country, in Chicago, St. Louis, San Francisco, Atlanta, who watched the same game over the ticker, or sat in a smoke-fogged room listening to telegraphic announcements, play by play, or who even stood on the curbing in front of a newspaper office and watched an impartial employee shove a little yellow ball along a black-board, usually indicating the direction in which the real football was _not_ going. Since it is so important to give the exact number of people who saw the game, why not do the thing up right and say: "Returns which are now coming in from the Middle West, with some of the rural districts still to be heard from, indicate that at least 145,566 people watched the Yale-Princeton football game yesterday. Secretary Dinwoodie of the San Francisco Yale Club telegraphed late last night that the final count in that city would probably swell the total to a round 150,395. This is, or will be, the largest crowd that ever assembled in one country to watch a football game."

And watching the game in this vicarious manner isn't so bad as the fellow who has got tickets and carfare to the real game would like to have it. You are in a warm room, where you can stretch your legs and regulate your remarks to the intensity of your emotions rather than to the sex of your neighbors. And as for thrills! "Dramatic suspense" was probably first used as a term in connection with this indoor sport.

The scene is usually some college club in the city--a big room full of smoke and graduates. At one end is a scoreboard and miniature gridiron, along which a colored counter is moved as the telegraph behind the board clicks off the plays hot from the real gridiron. There is also an announcer, who, by way of clarifying the message depicted on the board, reads the wrong telegram in a loud, clear tone.

Just as the crowd in the football arena are crouching down in their fur coats the better to avoid watching the home team fumble the kick-off, the crowds two and ten hundred miles away are settling back in their chairs and lighting up the old pipes, while the German-silver-tongued announcer steps to the front of the platform and delivers the following:

"Yale won the toss and chose to defend the south goal, Princeton taking the west."

This mistake elicits much laughter, and a witty graduate who has just had lunch wants to know, as one man to the rest of the house, if it is puss-in-the-corner that is being played.

The instrument behind the board goes "Tick-ity-tick-tick-tickity."

There is a hush, broken only by the witty graduate, who, encouraged by his first success, wants to know again if it is puss-in-the-corner that is being played. This fails to gain.

"Gilblick catches the kick-off and runs the ball back to his own 3-yard line, where he is downed in his tracks," comes the announcement.

There is a murmur of incredulity at this. The little ball on the board shoots to the middle of the field.

"Hey, how about that?" shout several precincts.

The announcer steps forward again.

"That was the wrong announcement," he admits. "Tweedy caught the kick-off and ran the ball back twenty-five yards to midfield, where he is thrown for a loss. On the next play there was a forward pass, Klung to Breakwater, which--"

Here the message stops. Intense excitement.

"Tickity-tickity-tick-tickity."

The man who has $5 on the game shuts his eyes and says to his neighbor: "I'll bet it was intercepted."

A wait of two triple-space minutes while the announcer winds his watch. Then he steps forward. There is a noisy hush.

"It is estimated that 50,000 people filed into the Palmer Stadium to-day to watch Yale and Princeton in their annual gridiron contest," he reads. "Yale took the field at five minutes of 2, and was greeted by salvos and applause and cheering from the Yale section. A minute later the Princeton team appeared, and this was a signal for the Princeton cohorts to rise as one man and give vent to their famous 'Undertaker's Song.'"

"How about that forward pass?" This, as one man, from the audience.

The ball quivers and starts to go down the field. A mighty shout goes up. Then something happens, and the ball stops, looks, listens and turns in the other direction. Loud groans. A wooden slide in the mechanism of the scoreboard rattles into place, upside down. Agile spectators figure out that it says "Pass failed."

Every one then sinks back and says, "They ought not to have tried that." If the quarterback could hear the graduates' do-or-die backing of their team at this juncture he would trot into the locker building then and there.

Again the clear voice from the platform:

"Tweedy punts--" (noisy bond-salesman in back of room stands up on a chair and yells "Yea!" and is told to "Shut up" by three or four dozen neighbors) "to Gumble on his 15-yard line. Gumble fumbles."

The noisy bond-salesman tries to lead a cheer but is prevented.

Frightful tension follows. Who recovered? Whose ball is it? On what line? Wet palms are pressed against trouser legs. How about it?

"Tick-tickity-tick-tickity-tickity-tickity."

You can hear the announcer's boots squeak as he steps forward.

"Mr. A.T. Blevitch is wanted on the telephone," he enunciates.

Mr. A.T. Blevitch becomes the most unpopular man in that section of the country. Every one turns to see what a man of his stamp can look like. He is so embarrassed that he slinks down in his seat and refuses to answer the call.

"Klung goes around right end for a gain of two yards," is the next message from the front.

The bond-salesman shouts "Yea!"

"How about that fumble?" shouts every one else.

The announcer goes behind the scenes to talk it over with the man who works the Punch-and-Judy, and emerges, smiling.

"In the play preceding the one just announced," he says, "Gumble fumbled and the ball was recovered by Breakwater, who ran ten yards for a touchdown--"

Pandemonium! The bond-salesman leads himself in a cheer. The witty man says, "Nothing to it."

There is comparative quiet again, and every one lights up the old pipes that have gone out.

The announcer steps forward with his hand raised as if to regulate traffic.

"There was a mistake in the announcement just made," he says pleasantly. "In place of 'touchdown' read 'touchback.' The ball is now in play on the 20-yard line, and Kleenwell has just gone through center for three yards."

By this time no one in the audience has any definite idea of where the ball is or who has it. On the board it is hovering between midfield and second base.

"On the next play Legly punts--"

"Block that punt! Block that punt!" warns the bond-salesman, as if it were the announcer who was opposing Legly.

"Sit down, you poor fish!" is the consensus of opinion.

"Legly punts to Klung on the latter's 25-yard line, where the first period ends."

And so it goes throughout the game; the announcer calling out gains and the dummy football registering corresponding losses; Messrs. A.T. Blevitch and L.H. Yank being wanted on the telephone in the middle of forward passes; the noisy person in the back of the room yelling "Yea" on the slightest provocation and being hushed up at each outbreak; and every one wondering what the quarterback meant by calling for the plays he did.

In smaller cities, where only a few are gathered together to hear the results, things are not done on such an elaborate scale. The dummy gridiron and the dummy announcer are done away with and the ten or a dozen rooters cluster about the news ticker, most of them with the intention of watching for just a few minutes and then going home or back to the office. And they always wait for just one more play, shifting from one foot to the other, until the game is over.

About a ticker only the three or four lucky ones can see the tape. The rest have to stand on tip-toe and peer over the shoulders of the man in front. They don't care. Some one will always read the results aloud, just as a woman will read aloud the cut-ins at the movies. The one who is doing the reading usually throws in little advance predictions of his own when the news is slow in coming, with the result that those in the back get the impression that the team has at least a "varied attack," effecting at times a field goal and a forward pass in the same play.

A critical period in the game, as it comes dribbling in over the ticker, looks something like this:

YALE.PRINCTON.GAME....CHEKFMKL.......KLUNG.GOES.
AROUND.LEFT.END.FOR.A.GAIN.OF.YDS.....A.FORWARD.
PASS.TWEEDY.TO.KLUNG.NETS.....
(Ticker stops ticking).

Murmurs of "Come on, there, whasser matter?"

Some one suggests that the pass was illegal and that the whole team has been arrested.

The ticker clears its throat. Br-r-r-r-r-r-r-r-r-r-r

The ticker stabs off a line of dots and begins:

"BOWIE.FIRST.RACE..MEASLES. FIRST..13.60..AND..
6.00.WHORTLEBERRY.SCND.PLACE.3.80..EMMA GOLDMAN,
THIRD..TIME.1.09.4.5.NON.START.PROCRASTINATION.
UNCLE TOM'S CABIN"

A few choice remarks are passed in the privacy of the little circle, to just the effect that you would suspect.

A newcomer elbows his way in and says: "What's the good word? Any score yet?" and some one replies: "Yes. The score now stands 206 to 0 in favor of Notre Dame." This grim pleasantry is expressive of the sentiment of the group toward newcomers. It is each man for himself now.

Br-r-r-r-r-r-r-r-r-r-r-r-r-r-r-r-r!

"Here she comes, now!" whispers the man who is hanging over the glass news terminal, reading aloud: "Yale-Princeton-Game-Second Quarter (Good-night, what became of that forward pass in the first quarter?) Yale's-ball-in-mid-field-Hornung-takes-ball-around-left-end-making-it¯ first-down-Tinfoil-drops-back-for-a-try-at-a-field-goal. (Oh, boy! Come on, now!)"

"Why the deuce do they try a field goal on the first down?" asks a querulous graduate-strategist. "Now, what he ought to do is to keep a-plugging there at tackle, where he has been going--"

Br-r-r-r-r-r-r-r-r-r-r-r-r-r-r-r-r-r!

"Bet he missed it!" offers some one with vague gambling instincts.

"..INS.NEEDLES..1-1/4..ZINC..CON..4-1/2..WASHN..
THE CENSUS.OFFICE.ESTIMATES.THE CONSUMPTION.OF
COTTON.WASTE.IN.THE.MFGR.OF.AUTOMBLE.HOODS.AS.
66.991.059 LBS..INCLUDING.LINTERS.AND.HULL FIBER.."

And just then some one comes in from the outside, all fresh and disagreeably cheery, and wants to know what the score is and if there have been many forward passes tried and who is playing quarter for Yale, and if any one has got a cigarette.

It is really just the same sort of program as obtains in the big college club, only on a small scale. They are all watching the same game and they are all wishing the same thing and before their respective minds' eyes is the picture of the same stadium, with the swarm of queen bees and drones clinging to its sides. And every time that you, who are one of the cold and lucky ones with a real ticket, see a back break loose for a long run and hear the explosion of hoarse shouts that follows, you may count sixty and then listen to hear the echo from every big city in the country where the old boys have just got the news.

XV

A LITTLE DEBIT IN YOUR TONNEAU

Motorists, as a class, are not averse to public discussion of their troubles. In fact, one often wonders how some of them ever get time to operate their cars, so tied up do they seem to be with these little experience-meetings, at which one man tells, with appropriate gestures, how he ran out of gas between Springfield and Worcester, while another gives a perfect bit of character acting to show just how the policeman on the outskirts of Trenton behaved.

But there seems to be one phase of the motorist's trials which he never bares to the public. He will confide to you just how bad the gasoline was that he bought at the country garage; he will make it an open secret that he had four blow-outs on the way home from the country-club; but of one of his most poignant sorrows he never speaks. I refer to the guests who snuggle in his tonneau.

Probably more irritations have arisen from the tonneau than from the tires, day in and day out, and yet you never hear a man say, "Well, I certainly had an unholy crew of camp-followers out with me to-day--friends of my wife." Say what you will, there is an innate delicacy in the average motorist, or such repression could not be.

Consider the types of tonneau guests. They are as generic and fundamental as the spectrum and you will find them in Maine and New Mexico at the same time.

There is the first, or major, classification, which may be designated as the Financially Paralyzed. Persons in this class, on stepping into your machine, automatically transfer all their money troubles to you. You become, for the duration of the ride, whether it be to the next corner or to Palm Beach, their financial guardian, and any little purchases which are incidental to the trip (such as three meals a day) belong to your list of running expenses. There seems to be something about the motion of the automobile that inhibits their ability to reach for their purses, and they become, if you want to be poetical about it, like clay in the hands of the potter. Whither thou goest they will go; thy check-book is their check-book. It is just like the one great, big, jolly family--of which you are the father and backer.

Such people always make a great to-do about starting off on a trip. You call for them and they appear at the window and wave, to signify that they see you, and go through motions to show that just as soon as Clara has put on her leggings they will be down. Soon they appear, swathed in a tremendous quantity of motor wraps and veils (you can usually tell the guests in a car by the number of head-veils they wear) and get halfway down the walk, when Clara remembers her rain-coat and has to swish back upstairs, veils and all. Out again, and just as they get wedged into the tonneau, the elderly guest wonders if there is time for some one to run in again and tell Helma that if the Salvation Army man comes for the old magazines she is to tell him to come again to-morrow. By the time this message is relayed to Helma Garcia one solid half-hour has been dissipated from the cream of the morning. This does not prevent the guests from remarking, as the motor starts, that it certainly is a heavenly day and that it couldn't have been better if it had been ordered. Knowing the type, you can say to yourself that if the day _had_ been ordered you know who would have had to give the order and pay the check.

From that time on, you are the moneyed interest behind the venture. Meals at road-houses, toll charges, evening papers, hot chocolates at the country drug store, hair net for Clara, and, of course, a liberal injection of gasoline on the way home, all of these items and about fourteen others come in your bailiwick. The guests have been asked out for a ride, and "findings is keepings." If you have money enough to run a car, you probably have money enough to support them for a day or so. That's only fair, isn't it?

Under a sub-head (a), in this same category, come the guests who are stricken with _rigor mortis_ when there are any repairs to be made about the machine. Male offenders in this line are, of course, the only ones that can be dealt with here; putting on a tire is no job for women and children. But the man who is the life of the party in the tonneau throughout the trip, who thinks nothing of climbing all over the back of the car in imitation of a Roman charioteer, will suddenly become an advocate of the basic eight-hour working day which began just eight hours before, whenever there is a man's work to be done on one of the tires. He will watch you while you work, and always has a good word to say or a quip to snap at you to keep you cheered up, but when it comes to taking off his coat and lending a hand at the jack he is an Oriental incense-holder on the guest-room mantel. He admits in no uncertain tones, that he is a perfect dub when it comes to handling machinery and that he is more apt to be in the way at a time like this than not. And maybe he is right, after all.

We next come to the class of tonneau-freight who are great believers in what Professor Muensterberg called "Auto-Suggestion." These people, although not seated in the driver's seat, have their own ideas on driving and spare no pains to put their theories in the form of suggestions. In justice to the Great Army of the Unemployed known as "guests" it must be admitted that a large percentage of these suggestions emanate from some member of the owner's family and not from outsiders. It is very often Mrs. Wife who is off-side in this play, but as she is usually in the tonneau, she comes under the same classification.

There are various ways of framing suggestions to the driver from the back seat. They are all equally annoying. Among the best are:

"For heaven's sake, George, turn in a little. There is a car behind that wants to pass us."

"Look out where you're going, Stan."

"Henry, if you don't slow down I'm going to get out and take the train back home."

If this is accompanied by a clutching gesture at the driver's arm it is sure to throw him into a good humor for the rest of the trip, so that a good time will be had by all present.

Although guests are not so prone to make suggestions on the running of the car as are those who, through the safety of family connection, may do so without fear of bodily assault from the driver, nevertheless, a guest may, according to the code, lean over the back of the seat and slip little hints as to the route. Especially if one of them be entrusted with a Blue Book does this form of auto-suggestion become chronic.

"It says here that we should have taken that road to the right back there by the Soldiers' Monument," informs the reader over your shoulder. Or--

"Somehow this doesn't seem like the right road. Personally, I think that we ought to turn around and go back to the cross-roads."

If it is Mrs. Wife in the tonneau who has her own ideas on the route, you might as well give in at her first suggestion, for the risk that she is right is too great to run. If she says that she would advise taking the lane that runs around behind that school-house, take it. Then, if it turns out to be a blind alley, you have the satisfaction of saying nothing, very eloquently and effectively. But if you refuse to take her suggestion, and your road turns out to be even halfway wrong, you might as well turn the wheel over to your little son and go South for the winter, for you will never hear the ultimate cry of triumph. Your season will practically be ruined. I can quote verbatim from the last affair of this kind:

(Voice from the tonneau): "Albert, I think we ought to have taken the road at the left."

"No, we hadn't."

"I'm sure of it. I saw a sign which said: 'Paxton' on it."

"No, you didn't."

"Well, you wait and see."

"I'm waiting."

There is a silence for ten minutes, while the car jounces along a road which gets narrower and rockier.

(Voice from the tonneau): "I suppose you think this is the way to Paxton?"

"I certainly _do_."

"Oh, you make me sick!"

Silence and jounces.

Sudden stop as the road ends at a silo.

"I beg your pardon [addressed to a rustic], which is the road to Paxton?"

"Paxton?"

"Yes."

"The road to Paxton?"

"Yes."

"Well, you go back over the rud you just come over, about three mile, till you come to a rud turnin' off to the right with a sign which says 'Paxton.'"

(Voice from the tonneau, beginning at this point and continuing all of the way back, all the rest of the day and night, and until snow falls): "_There!_ what did I tell you? But, oh no, you know it all. Didn't I tell you"--etc., etc.

On the whole, it would seem that the artists who draw the automobile advertisements make a mistake in drawing the tonneau so roomy and so full of people. There should be no tonneau.

XVI

A ROMANCE IN ENCYCLOPÆDIA LAND

_Written After Three Hours' Browsing in a New Britannica Set_

Picture to yourself an early spring afternoon along the banks of the river Aa, which, rising in the Teutoburger Wald, joins the Werre at Herford and is navigable as far as St. Omer.

Branching _bryophytu_ spread their flat, dorsi-ventral bodies, closely applied to the sub-stratum on which they grew, and leafy carophyllaceæ twined their sepals in prodigal profusion, lending a touch of color to the scene. It was clear that nature was in preparation for her estivation.

But it was not this which attracted the eye of the young man who, walking along the phonolithic formation of the river-bank, was playing softly to himself on a double curtail, or converted bass-pommer, an octave below the single curtail and therefore identical in pitch and construction with the early _fagotto_ in C.

His mind was on other things.

He was evidently of Melanochronic extraction, with the pentagonal facial angle and strong obital ridges, but he combined with this the fine lines of a full-blooded native of Coll, where, indeed, he was born, seven miles west of Caliach Point, in Mull, and in full view of the rugged gneiss.

As he swung along, there throbbed again and again through his brain the beautiful opening paragraph of Frantisek Palacky's (1798-1876) "_Zur böhmischen Geschichtschreibung_" (Prague, 1871), written just after the author had refused a portfolio in the Pillersdorf Cabinet and had also declined to take part in the preliminary diet at Kromerice.

"If _he_ could believe such things, why can not I?" murmured the young man, and crushed a ginkgo beneath his feet. Young men are often so. It is due to the elaterium of spring.

"By Ereshkigal," he swore softly to himself, "I'll do it."

No sooner had he spoken than he came suddenly out of the tangle of gymnosperms through whose leaves, needle-like and destitute of oil-glands as they were, he had been making his way, and emerged to a full view of the broad sweep of the Lake of Zug, just where the Lorze enters at its northern extremity and one and a quarter miles east of where it issues again to pursue its course toward the Reuss. Zug, at this point, is 1,368 feet above sea-level, and boasted its first steamer in 1852.

"Well," he sighed, as he gazed upon the broad area of subsidence, "if I were now an exarch, whose dignity was, at one time, intermediate between the Patriarchal and the Metropolitan and from whose name has come that of the politico-religious party, the Exarchists, I should not be here day-dreaming. I should be far away in Footscray, a city of Bourke County, Victoria, Australia, pop. (1901) 18,301."

And as he said this his eyes filled with tears, and under his skin, brown as fustic, there spread a faint flush, such as is often formed by citrocyde, or by pyrochloric acid when acting on uncured leather.

Far down in the valley the natives were celebrating the birthday of Gambrinus, a mythical Flemish king who is credited with the first brewing of beer. The sound of their voices set in motion longitudinal sound waves, and these, traveling through the surrounding medium, met the surface separating two media and were in part reflected, traveling back from the surface into the first medium again with the velocity with which they approached it, as depicted in Fig. 10. This caused the echo for which the Lake of Zug is justly famous.

The twilight began to deepen and from far above came the twinkling signals of, first, Böotes, then Coma Berenices, followed, awhile later, by Ursa Major and her little brother, Ursa Minor.

"The stars are clear to-night," he sighed. "I wonder if they are visible from the dacite elevation on which SHE lives."

His was an untrained mind. His only school had been the Eleatic School, the contention of which was that the true explanation of things lies in the conception of a universal unity of being, or the All-ness of One.

But he knew what he liked.

In the calm light of the stars he felt as if a uban had been lifted from his heart, 5 ubans being equal to 1 quat, 6 quats to 1 ammat and 120 ammats to 1 sos.

He was free again.

Turning, he walked swiftly down into the valley, passing returning peasants with their baa-poots, and soon came in sight of the shining lamps of the small but carefully built pooroos which lined the road.

Reaching the corner he saw the village epi peering over the tree-tops, and swarms of cicada, with the toothed famoras of their anterior legs mingling in a sleepy drone, like many cichlids. It was all very home-like to the wanderer.

Suddenly there appeared on a neighboring eminence a party of guisards, such as, during the Saturnalia, and from the Nativity till the Epiphany were accustomed to disport themselves in odd costumes; all clad in clouting, and evidently returning from taking part in the celebration.

As they drew nearer, our hero noticed a young woman in the front rank who was playing folk-songs on a cromorne with a double-reed mouth-piece enclosed in an air-reservoir.

In spite of the detritus wrought by the festival, there was something familiar about the buccinator of her face and her little mannerism of elevating her second phalanx. It struck him like the flash of a cloud highly charged by the coalescence of drops of vapor. He approached her, tenderly, reverently.

"Lange, Anne Françoise Elizabeth," he said, "I know you. You are a French actress, born in Genoa on the seventeenth of September, 1772, and you made your first appearance on the stage in _L'Ecossaise_ in 1788. Your talent and your beauty gave you an enormous success in _Pamela_. It has taken me years to find you, but now we are united at last."

The girl turned like a frightened aardvark, still holding the cromorne in her hand. Then she smiled.

"Weenix, Barnaby Bernard (1777-1829)," she said very slowly, "you started business as a publisher in London about 1797."

They looked at each other for a moment in silence. He was the first to speak.

"Miss Lange, Anne," he said, "let us go together to Lar--and be happy there--happy as two ais, or three-toed South American sloths."

She lowered her eyes.

"I will go with you Mr. Weenix-Barney," she said, "to the ends of the earth. But why to Lar? Why not to Wem?"

"Because," said the young man, "Lar is the capital of Laristan, in 27 degrees, 30 minutes N., 180 miles from Shiraz, and contains an old bazaar consisting of four arcades each 180 feet long."

Their eyes met, and she placed her hands in his.

And, from the woods, came the mellow whinnying of a herd of vip, the wool of which is highly valued for weaving.

XVII

THE PASSING OF THE ORTHODOX PARADOX

Whatever irreparable harm may have been done to Society by the recent epidemic of crook, sex and other dialect plays, one great alleviation has resulted. They have driven up-stage, for the time being, the characters who exist on tea and repartee in "The drawing-room of Sir Arthur Peaversham's town house, Grosvenor Square. Time: late Autumn."

A person in a crook play may have talked underworld patois which no self-respecting criminal would have allowed himself to utter, but he did not sit on a divan and evolve abnormal _bons mots_ with each and every breath. The misguided and misinformed daughter in the Self and Sex Play may have lisped words which only an interne should hear, but she did not offer a succession of brilliant but meaningless paradoxes as a substitute for real conversation.

Continuously snappy back-talk is now encountered chiefly in such acts as those of "Cooney & LeBlanc, the Eccentric Comedy Dancing Team."

And even _they_ manage to scrape along without the paradoxes.

But there was a time, beginning with the Oscar Wilde era, when no unprotected thought was safe.

It might be seized at any moment by an English Duke or a Lady Agatha and strangled to death. Even the butlers in the late 'eighties were wits, and served epigrams with cucumber sandwiches; and a person entering one of these drawing-rooms and talking in connected sentences--easily understood by everybody--each with one subject, predicate and meaning, would have been looked upon as a high class moron. One might as well have gone to a dinner at Lady Coventry's without one's collar, as without one's kit of trained paradoxes.

A late Autumn afternoon in one of these semi-Oscar Wilde plays, for instance, would run something like this:

SCENE--_The Octagon Room in Lord Raymond Eaveston's Manor House in Stropshire._

LADY EAVESTON and SIR THOMAS WAFFLETON _are discovered, arranging red flowers in a vase_.

SIR T.: I detest red flowers; they are so yellow.

LADY E.: What a cynic you are, Sir Thomas. I really must not listen to you or I shall hear something that you say.

SIR T.: Not at all, my dear Lady Eaveston. I detest people who listen closely; they are so inattentive.

LADY E.: Pray do not be analytical, my dear Sir Thomas. When people are extremely analytical with me I am sure that they are superficial, and, to me, nothing is more abominable than superficiality, unless perhaps it is an intolerable degree of thoroughness.

(_Enter Meadows, the Butler_)

MEADOWS (_announcing_): Sir Mortimer Longley and Mrs. Wrennington,--a most remarkable couple,--I may say in announcing them,--in that there is nothing at all remarkable about them.

(_Enter Sir Mortimer and Mrs. Wrennington_)

MRS. W.: So sorry to be late, dear Lady Eaveston. But it is so easy to be on time that I always make it a point to be late. It lends poise, and poise is a charming quality for any woman to have, am I not right, Sir Thomas?

SIR T.: You are always right, my dear Mrs. Wrennington, and never more so than now, for I know of no more attractive attribute than poise, unless perhaps it be embarrassment.

LADY E.: What horrid cynics you men are! Really, Sir Thomas, one might think, from your sophisticated remarks that you had been brought up in the country and had seen nothing of life.

SIR T.: And so I _have_ been, my dear Lady Eaveston. To my mind, London is nothing but the country, and certainly Stropshire is nothing but a metropolis. The difference is, that when one is in town, one lives with others, and when one is in the country, others live with one. And both plans are abominable.

MRS. W.: What a horrid combination! I hate horrid combinations; they always turn out to be so extremely pleasant.

(_Enter Meadows_)

MEADOWS (_announcing_): Sir Roland Pinshamton; Viscount Lemingham; Countess Trotski and Mr. Peters. In announcing these parties I cannot refrain from remarking that it has always been my opinion that a man who intends to get married should either know something or nothing, preferably both.

(_Exit Meadows_)

COUNTESS T.: So sorry to be late, my dear Lady Eaveston. It was charmingly tolerant of you to have us.

LADY E.: Invitations are never tolerant, my dear Countess; acceptances always are. But do tell me, how is your husband, the Count,--or perhaps he is no longer your husband. One never knows these days whether a man is his wife's husband or whether she is simply his wife.

COUNTESS T. (_lighting a cigarette_): Really, Lady Eaveston, you grow more and more interesting. I detest interesting people; they are so hopelessly uninteresting. It is like beautiful people--who are usually so singularly unbeautiful. Has not that been your experience, Sir Mortimer?

SIR M.: May I have the pleasure of escorting you to the music-room, Mrs. Wrennington?

(_Exeunt omnes to music-room for dinner_)

Curtain.

It is from this that we have, in a measure, been delivered by the court-room scenes, and all the medical dramas. But the paradox still remains intrenched in English writing behind Mr. G.K. Chesterton, and he may be considered, by literary tacticians, as considerable stronghold.

Here again we find our commonplaces shaken up until they emerge in what looks like a new and tremendously imposing shape, and all of them ostensibly proving the opposite of what we have always understood. If we do not quite catch the precise meaning at first reading, we lay it to our imperfect perception and try to do better on the next one. It seldom occurs to us that it really may have no meaning at all and never was intended to have any, any more than the act of hanging by your feet from parallel bars has any further significance than that you can manage to do it.

So, before retiring to the privacy of our personal couches, let us thank an all wise Providence, that the drama-paradox has passed away.

XVIII

SHAKESPEARE EXPLAINED

_Carrying on the System of Footnotes to a Silly Extreme_

PERICLES

ACT II. SCENE 3

_Enter first Lady-in-Waiting_ (_Flourish_,^1 _Hautboys_^2 _and_^3 _torches_^4).

_First Lady-in-Waiting_--What^5 ho!^6 Where^7 is^8 the^9 music?^10

NOTES

1. _Flourish_: The stage direction here is obscure. Clarke claims it should read "flarish," thus changing the meaning of the passage to "flarish" (that is, the King's), but most authorities have agreed that it should remain "flourish," supplying the predicate which is to be flourished. There was at this time a custom in the countryside of England to flourish a mop as a signal to the passing vender of berries, signifying that in that particular household there was a consumer-demand for berries, and this may have been meant in this instance. That Shakespeare was cognizant of this custom of flourishing the mop for berries is shown in a similar passage in the second part of King Henry IV, where he has the Third Page enter and say, "Flourish." Cf. also Hamlet, IV, 7:4.

2. _Hautboys_, from the French _haut_, meaning "high" and the Eng. _boys_, meaning "boys." The word here is doubtless used in the sense of "high boys," indicating either that Shakespeare intended to convey the idea of spiritual distress on the part of the First Lady-in-Waiting or that he did not. Of this Rolfe says: "Here we have one of the chief indications of Shakespeare's knowledge of human nature, his remarkable insight into the petty foibles of this work-a-day world." Cf. T.N. 4:6, "Mine eye hath play'd the painter, and hath stell'd thy beauty's form in table of my heart."

3. _and_. A favorite conjunctive of Shakespeare's in referring to the need for a more adequate navy for England. Tauchnitz claims that it should be pronounced "und," stressing the anti-penult. This interpretation, however, has found disfavor among most commentators because of its limited significance. We find the same conjunctive in A.W.T.E.W. 6:7, "Steel-boned, unyielding _and_ uncomplying virtue," and here there can be no doubt that Shakespeare meant that if the King should consent to the marriage of his daughter the excuse of Stephano, offered in Act 2, would carry no weight.

4. _Torches_. The interpolation of some foolish player and never the work of Shakespeare (Warb.). The critics of the last century have disputed whether or not this has been misspelled in the original, and should read "trochies" or "troches." This might well be since the introduction of tobacco into England at this time had wrought havoc with the speaking voices of the players, and we might well imagine that at the entrance of the First Lady-in-Waiting there might be perhaps one of the hautboys mentioned in the preceding passage bearing a box of troches or "trognies" for the actors to suck. Of this entrance Clarke remarks: "The noble mixture of spirited firmness and womanly modesty, fine sense and true humility, clear sagacity and absence of conceit, passionate warmth and sensitive delicacy, generous love and self-diffidence with which Shakespeare has endowed this First Lady-in-Waiting renders her in our eyes one of the most admirable of his female characters." Cf. M.S.N.D. 8:9, "That solder'st close impossibilities and mak'st them kiss."

5. _What_--What.

6._Ho!_. In conjunction with the preceding word doubtless means "What ho!" changed by Clarke to "What hoo!" In the original MS. it reads "What hi!" but this has been accredited to the tendency of the time to write "What hi" when "what ho" was meant. Techner alone maintains that it should read "What humpf!" Cf. Ham. 5:0, "High-ho!"

7. _Where_. The reading of the folio, retained by Johnson, the Cambridge editors and others, but it is not impossible that Shakespeare wrote "why," as Pope and others give it. This would make the passage read "Why the music?" instead of "Where is the music?" and would be a much more probable interpretation in view of the music of that time. Cf. George Ade. Fable No. 15, "Why the gunny-sack?"

8. _is_--is not. That is, would not be.

9. _the_. Cf. Ham.4:6. M.S.N.D. 3:5. A.W.T.E.W. 2:6. T.N. 1:3 and Macbeth 3:1, "that knits up _the_ raveled sleeves of care."

10. _music_. Explained by Malone as "the art of making music" or "music that is made." If it has but one of these meanings we are inclined to think it is the first; and this seems to be favored by what precedes, "_the_ music!" Cf. M. of V. 4:2, "The man that hath no music in himself."

The meaning of the whole passage seems to be that the First Lady-in-Waiting has entered, concomitant with a flourish, hautboys and torches and says, "What ho! Where is the music?"

XIX

THE SCIENTIFIC SCENARIO

Sooner or later some one is going to come out and say that the movies are too low-brow. I can just see it coming. Maybe some one has said it already, without its having been brought to my attention, as I have been very busy for the past two weeks on my yearly accounts (my accounts for the year 1920, I mean. What with one thing and another, I am a bit behind in my budget system).

And whenever this denouncement of the movies takes place, the first thing that is going to be specifically criticized is the type of story which is now utilized for scenarios. How can a nation hope to inject any culture in the minds of its people if it feeds them with moving-picture stories dealing with elemental emotions like love, hate, and a passion for evening-dress? Scenarios to-day have no cultural background. That's the trouble with them. They have no cultural background.

Now, if we are to make the movies count for anything in the mental development of our people, we must build them of sterner stuff. We must make them from stories and books which are of the mind rather than of the body. The action should be cerebral, rather than physical, and instead of thrilling at the sight of two horsemen galloping along a cliff, we should be given the opportunity of seeing two opposing minds doing a rough-and-tumble on the edge of a nice problem in Dialectics or Metaphysics.

I would suggest as a book, from which a pretty little scenario might be made, "The Education of Henry Adams." This volume has had a remarkable success during the past year among the highly educated classes. Public library records show that more people have lied about having read it than any other book in a decade. It contains five hundred pages of mental masochism, in which the author tortures himself for not getting anywhere in his brain processes. He just simply can't seem to get any further than the evolution of an elementary Dynamic Theory of History or a dilettante dabbling with a Law of Acceleration. And he came of a bright family, too.

I don't go in much for scenario writing myself, but I am willing to help along the cause of better moving-pictures by offering herewith an outline for a six-reel feature entitled "THE EDUCATION OF HENRY ADAMS; or WHY MINDS GO WRONG."

_CAST OF CHARACTERS_

_Henry Adams._

_Left Frontal Brain Lobe._

_Right Frontal Brain Lobe._

_Manservant._

_Crowd of Villagers, Reflexes, Complexes, and Mental Processes._

The first scene is, according to the decorated caption: "IN THE HARVARD COLLEGE STUDY OF HENRY ADAMS, SCION OF AN OLD NEW ENGLAND FAMILY, THE NIGHT BEFORE THE BIG CEREBRAL FUNCTION OF HIS YOUNG MANHOOD."

Henry Adams, a Junior, is discovered sitting at his desk in his room in Holworthy Hall. He has a notebook on the Glacial Period and Palæontology open in front of him. He is thinking of his Education. (_Flash-back showing courses taken since Freshman year. Pianist plays "Carry Me Back to Old Virginie."_) He bites his under lip and turns a page of his notes.

Caption: "DOES TRANSCENDENTALISM HOLD THE KEY?... I WONDER...."

(_Fade-out showing him biting his upper lip, still thinking_.)

The second scene is laid in Rome.

Caption: "HERE, AFTER A YEAR'S WANDERING THROUGH THE HAPPY, SMILING LANDS OF EUROPE, COMES YOUNG HENRY ADAMS IN HIS SEARCH FOR EDUCATION. AND NOW, IN THE SHADOW OF ANCIENT ROME, HE FINDS PEACE, BUT NOT THAT PEACE FOR WHICH HE SOUGHT."

He is discovered sitting on a rock among the ruins of the Capitol, thinking. He tosses a pebble from one hand to another and scowls. The shadows deepen, and he rises, passing his hand across his brow. (_Flash-back showing the Latin verbs which govern the dative case. Pianist plays: "The March of the Jolly Grenadiers."_)

He walks slowly to the _Museo Nazionale_, where he stands pondering before a statue of Venus, thinking about Roman art and history--and about his Education.

Caption: "CAN ALL THIS BE FITTED INTO A TIME-SEQUENCE? CAN RIENZI, GARIBALDI. TIBERIUS GRACCHUS, AURELIAN, ANY OF THESE FAMOUS NAMES OF ROME, BE ADAPTED TO A SYSTEMATIC SCHEME OF EVOLUTION? NO, NO ... A THOUSAND TIMES, NO!"

He sinks down on a rock and weeps bitterly.

The next scene is in England and our hero is found sitting at a desk in his study in London. He is gazing into space--thinking.

Caption: "AND SO, ALL THROUGH THE LONG, WEARY SUMMER, HENRY ADAMS SAT, HEAD IN HAND, WONDERING IF DARWIN WAS RIGHT. TO HIM THE GLACIAL EPOCH SEEMED LIKE A YAWNING CHASM BETWEEN A UNIFORMITARIAN WORLD AND HIMSELF. IF THE GLACIAL PERIOD WERE UNIFORMITY, WHAT WAS CATASTROPHE?... AND TO THIS QUESTION, THE COOL OF THE SUMMER'S EVENING IN SHROPSHIRE BROUGHT NO RELIEF."

He rises slowly and goes to the book-shelves, from which he draws a copy of "The Origin of Species." Placing it before him on the desk he turns the pages slowly until he comes to one which holds his attention.

_Close-up of page 126, on which is read_: "It is notorious that specific characters are more variable than generic....

_Feet_

Palæzoic strata (not including 57,154
igneous beds)
Secondary strata 13,190

Tertiary strata 2,400"

The book drops to the floor from his nerveless fingers and he buries his head in his arms, sobbing. (Music: _"When You and I Were Young, Maggie."_)

"TWENTY YEARS AFTER ... HENRY ADAMS IS NO LONGER YOUNG, BUT IN HIS HEART LIES STILL THE HUNGER FOR EDUCATION. GOING FORWARD, EVER FORWARD, HE REALIZES AS NEVER BEFORE THAT WITHOUT THOUGHT IN THE UNIT, THERE CAN BE NO UNITY. THOUGHT ALONE IS FORM. MIND AND UNITY FLOURISH OR PERISH TOGETHER."

(_Allegorical flash-back showing Mind and Unity perishing together._)

The hero is now seen seated in a Morris chair in Washington, touching his finger-tips together in a ruminative manner. Arising slowly, he goes to the window and looks out over Lafayette Square. Then he lights a cigar and goes back to his chair. He is pondering and attempting to determine when, between 3000 B.C. and 1000 A.D. the momentum of Europe was greatest, as exemplified in mathematics by such masters as Archimedes, Aristarchus, Ptolemy and Euclid.

(_Flash-back showing the mathematical theories of Archimedes, Aristarchus, Ptolemy and Euclid. Music: "Old Ireland Shall Be Free."_)

Rising from his chair again, he paces the floor, clenching his hands behind his back in mute fury.

Caption: "GOD HAVE MERCY ON ME! I CAN SEE IT ALL--I HAVE NEVER BEEN EDUCATED!"

NEXT WEEK: BERT LYTELL IN
"SARTOR RESARTUS"
A SMASHING SIX-REEL FEATURE
BY TOM CARLYLE

XX

THE MOST POPULAR BOOK OF THE MONTH

NEW YORK CITY (including all Boroughs) TELEPHONE DIRECTORY--N.Y. Telephone Co., N.Y. 1920. 8vo. 1208 pp.

In picking up this new edition of a popular favorite, the reviewer finds himself confronted by a nice problem in literary ethics. The reader must guess what it is.

There may be said to be two classes of people in the world; those who constantly divide the people of the world into two classes, and those who do not. Both classes are extremely unpleasant to meet socially, leaving practically no one in the world whom one cares very much to know. This feeling is made poignant, to the point of becoming an obsession, by a careful reading of the present volume.

We are herein presented to some five hundred thousand characters, each one deftly drawn in a line or two of agate type, each one standing out from the rest in bold relief. It is hard to tell which one is the most lovable. In one mood we should say _W.S. Custard_ of Minnieford Ave. In another, more susceptible frame of mind, we should stand by the character who opens the book and who first introduces us into this Kingdom of Make-Believe--_Mr. V. Aagaard_, the old "Impt. & Expt." How one seems to see him, impting and expting all the hot summer day through, year in and year out, always heading the list, but always modest and unassuming, always with a kindly word and a smile for passers-by on Broadway!

It is perhaps inaccurate to say that _V. Aagaard_ introduces us to the book. He is the first flesh-and-blood human being with whom the reader comes in contact, but the initial place in the line should technically go to the A. & A.A. Excelsior Co. Having given credit where credit is due, however, let us express our personal opinion that this name is a mere trick, designed to crowd out all other competitors in the field for the honor of being in the premiere position, for it must be obvious to any one with any perception at all that the name doesn't make sense. _No_ firm could be named the A. & A.A. Co., and the author of the telephone directory might better have saved his jokes until the body of the book. After all, Gelett Burgess does that sort of thing much better than any one else could hope to.

But, beginning with _V. Aagaard_ and continuing through to _Mrs. L. Zyfers_ of Yettman Ave., the reader is constantly aware of the fact that here are real people, living in a real city, and that they represent a problem which must be faced.

Sharp as we find the character etching in the book, the action, written and implied, is even more remarkable. Let us, for instance, take _Mr. Saml Dreyslinger_, whose business is "Furn Reprg," or _Peter Shalijian_, who does "pmphlt bindg." Into whose experience do these descriptions not fit? The author need only mention a man bindg pmphlts to bring back a flood of memories to each and every one of us--perhaps our old home town in New England where bindg pmphlts was almost a rite during the long winter months, as well as a social function of no mean proportions. It is the ability to suggest, to insinuate, these automatic memories on the part of the reader without the use of extra words that makes the author of this work so worthy of the name of craftsman in the literary annals of the day.

Perhaps most deft of all is the little picture that is made of _Louise Winkler_, who is the village "sclp spclst." One does not have to know much medieval history to remember the position that the sclp spclst used to hold in the community during the Wars of the Roses. Or during Shay's Rebellion, for that matter. In those days, to be a sclp spclst was as important a post as that of "clb bdg stbls" (now done for New York City by Mr. Graham). People came from miles around to consult with the local sclp spclst on matters pertaining not only to sclps but to knt gds and wr whls, both of which departments of our daily life have now been delegated to separate agencies. Then gradually, with the growth of the trade guild movement, there came the Era of Specialization in Industry, and the high offices of the sclp spclst were dissipated among other trades, until only that coming strictly under the head of sclp speclzng remained. To this estate has _Miss Winkler_ come, and in that part of the book which deals with her and her work, we have, as it were, a little epic on the mutability of human endeavor. It is all too short, however, and we are soon thereafter plunged into the dreary round of expting and impting, this time through a character called _J. Wubbe_, who is interesting only in so far as he is associated with _M. Wrubel_ and _A.N. Wubbenhorst_, all of whom come together at the bottom of the column.

The plot, in spite of whatever virtues may accrue to it from the acid delineation of the characters and the vivid action pictures, is the weakest part of the work. It lacks coherence. It lacks stability.

Perhaps this is because of the nature of the book itself. Perhaps it is because the author knew too well his Dunsany. Or his Wells. Or his Bradstreet. But it is the opinion of the present reviewer that the weakness of plot is due to the great number of characters which clutter up the pages. The Russian school is responsible for this. We see here the logical result of a sedulous aping of those writers such as Tolstoi, Andreief, Turgenief, Dostoiefsky, or even Pushkin, whose _metier_ it was to fill the pages of their books with an inordinate number of characters, many of whom the reader was to encounter but once, let us say, on the Nevsky Prospekt or in the Smolny Institute, but all of whom added their peculiar names (we believe that we will not offend when we refer to Russian names as "peculiar") to the general confusion of the whole.

In practice, the book is not flawless. There are five hundred thousand names, each with a corresponding telephone number. But, through some error in editing, the numbers are all wrong. Proof of this may be had by the simple expedient of calling up any one of the subscribers, using the number assigned by the author to that name. (Any name will do--let us say _Nicholas Wimpie_-Haxlem 2131.) If the call is put in bright and early in the morning, the report will come over the wire just as the lights are going on for evening of the same day that "Harlem 2131 does not answer." The other numbers are invariably equally unproductive of results. The conclusion is obvious.

Aside from this point the book is a success.

XXI

CHRISTMAS AFTERNOON

_Done in the Manner, if Not the Spirit, of Dickens_

What an afternoon! Mr. Gummidge said that, in his estimation, there never had _been_ such an afternoon since the world began, a sentiment which was heartily endorsed by Mrs. Gummidge and all the little Gummidges, not to mention the relatives who had come over from Jersey for the day.