Chapter VI (3)

"And then ze gouvermen' come and tell me I must pay zem ten thousan' dollars, when I make only seexty thousan' dollars at ze opera! Anozzer skonk treeck, hein?"

The just complaint of Mr. Grunch, income tax payer, as imparted to me over his own port wine, after dinner.

"No, I shouldn't want to complain: I mean, in any way that would reach the outside,--reach it, that is, in connection with my name. Though I think that the thing ought to be said by SOMEBODY. I think you might say it. (Let me pour you out another glass of this Conquistador: yes, it's the old '87: but I suppose we'll never get any more of it on this side: they say that the rich Spaniards are making so much money they're buying up every cask of it and it will never be exported again. Just another illustration of the way that the war hits everybody alike.) But, as I was saying, I think if YOU were to raise a complaint about the income tax, you'd find the whole country--I mean all the men with incomes--behind you. I don't suppose they'd want you to mention their names. But they'd be BEHIND you, see? They'd all be there. (Will you try one of these Googoolias? They're the very best, but I guess we'll never see them again. They say the rich Cubans are buying them up. So the war hits us there, too.) As I see it, the income tax is the greatest mistake the government ever made. It hits the wrong man. It falls on the man with an income and lets the other man escape. The way I look at it, and the way all the men that will be behind you look at it, is that if a man sticks tight to it and goes on earning all the income he can, he's doing his bit, in his own way, to win the war. All we ask is to be let alone (don't put that in your notes as from me, but you can say it), let us alone to go on quietly piling up income till we get the Germans licked. But if you start to take away our income, you discourage us, you knock all the patriotism out of us. To my mind, a man's income and his patriotism are the same thing. But, of course, don't say that I said that."

The just complaint of my barber, as expressed in the pauses of his operations.

"I'm not saying nothing against the Government (any facial massage this morning?). I guess they know their own business, or they'd ought to, anyway. But I kick at all this talk against the barber business in war time (will I singe them ends a bit?). The papers are full of it, all the time. I don't see much else in them. Last week I saw where a feller said that all the barber shops ought to be closed up (bay rum?) till the war was over. Say, I'd like to have him right here in this chair with a razor at his throat, the way I have you! As I see it, the barber business is the most necessary business in the whole war. A man'll get along without everything else, just about, but he can't get along without a shave, can he?--or not without losing all the pep and self-respect that keeps him going. They say them fellers over in France has to shave every morning by military order: if they didn't the Germans would have 'em beat. I say the barber is doing his bit as much as any man. I was to Washington four months last winter, and I done all the work of three senators and two congressmen (will I clip that neck?) and I done the work of a United States Admiral every Saturday night. If that ain't war work, show me what is. But I don't kick, I just go along. If a man appreciates what I do, and likes to pay a little extra for it, why so much the better, but if he's low enough to get out of this chair you're in and walk off without giving a cent more than he has to, why let him go. But, sometimes, when I get thinking about all this outcry about barber's work in war time, I feel like following the man to the door and slitting his throat for him... Thank you, sir; thank you, sir. Good morning. Next!"

The just complaint of Mr. Singlestone;--formerly Mr. Einstein, Theatre Proprietor.

"I would be the last man, the very last, to say one word against the Government. I think they are doing fine. I think the boys in the trenches are doing fine. I think the nation is doing fine. But, if there's just one thing where they're wrong, it's in the matter of the theatres. I think it would be much better for the Government not to attempt to cut down or regulate theatres in any way. The theatre is the people's recreation. It builds them up. It's all part of a great machine to win the war. I like to stand in the box office and see the money come in and feel that the theatre is doing its bit. But, mind you, I think the President is doing fine. So, all I say is, I think the theatres ought to be allowed to do fine, too."

The just complaint of Mr. Silas Heck, farmer, as interviewed by me, incognito, at the counter of the Gold Dollar Saloon.

"Yes, sir, I say the Government's in the wrong, and I don't care who hears me. (Say, is that feller in the slick overcoat listening? Let's move along a little further.) They're right to carry on the war for all the nation is worth. That's sound and I'm with 'em. But they ought not to take the farmer offen his farm. There I'm agin them. The farmer is the one man necessary for the country. They say they want bacon for the Allies. Well, the way I look at it is, if you want bacon, you need hogs. And if there are no men left in the country like me, what'll you do for hogs!

"Thanks, was you paying for that? I guess we won't have another, eh? Two of them things might be bad for a feller."

So, when I used to listen to the complaints of this sort that rose on every side, I was glad that I was not President of the United States.

At the same time I DO think that the Government makes a mistake in taxing the profits of the poor book writers under the absurd name of INCOME. But let that go. The Kaiser would probably treat us worse.

I.--Some Startling Side Effects of the War

"There is no doubt," said Mr. Taft recently, "that the war is destined to effect the most profound uplift and changes, not only in our political outlook, but upon our culture, our thought and, most of all, upon our literature."

I am not absolutely certain that Mr. Taft really said this. He may not have said "uplift." But I seem to have heard something about uplift, somewhere. At any rate, there is no doubt of the fact that our literature has moved--up or down. Yes, the war is not only destined to affect our literature, but it has already done so. The change in outlook, in literary style, in mode of expression, even in the words themselves is already here.

Anybody can see it for himself by turning over the pages of our fashionable novels or by looking at the columns of our great American and English newspapers and periodicals.

But stop,--let me show what I mean by examples. I have them here in front of me. Take, for example, the London Spectator. Everybody recognised in it a model of literary dignity and decorum. Even those who read it least, admitted this most willingly; in fact, perhaps all the more so. In its pages to-day one finds an equal dignity of thought, yet, somehow, the wording seems to have undergone an alteration. One cannot say just where the change comes in. It is what the French call a je ne sais quoi, a something insaisissable, a sort of nuance, not amounting of course to a lueur, but still,--how shall one put it,--SOMETHING.

The example that is given below was taken almost word for word (indeed some of the words actually were so) from the very latest copy of The Spectator.

EDITORIAL FROM THE LONDON "SPECTATOR"

Showing the Stimulating Effect of the War on Its Literary Style

"There is no doubt that our boys, and the Americans, are going some on the western front. We have no hesitation in saying that last week's scrap was a cinch for the boys. It is credibly reported by our correspondent at The Hague that the German Emperor, the Crown Prince and a number of other guys were eye witnesses of the fight. If so, they got the surprise of their young lives. While we should not wish to show anything less than the chivalrous consideration for a beaten enemy which has been a tradition of our nation, we feel it is but just to say that for once the dirty pups got what was coming to them. We are glad to learn from official quarters that His Majesty King George has been graciously pleased to telegraph to General Pershing, 'Soak it to 'em--and THEN some.'

"Meantime the situation from the point of view both of terrain and of tactics remains altogether in our favour. The deep salient driven into the German lines near Soissons threatens to break up their communications and force a withdrawal on a wide front. We cannot make the position clearer to our English readers than by saying that our new lines occupy, as it were, the form of a baseball diamond, with Soissons at second base and with our headquarters at the home plate and our artillery support at third. Our readers will at once grasp the fact that, with our advance pivoted on the pitcher's box and with adequate cover at short, the thing is a lead-pipe cinch, --in fact, we have them lashed to the mast.

"Meantime the mood of the hour should be one, not of undue confidence or boastfulness, but of quiet resolution and deep thankfulness. As the Archbishop of Canterbury so feelingly put it in his sermon in Westminster Abbey last Sunday, 'Now that we have them by the neck let us go on, in deep and steadfast purpose, till we have twisted the gizzard out of them.'

"The Archbishop's noble words should, and will, re-echo in every English home."

Critical people may be inclined to doubt the propriety, or even the propinquity, of some of the literary changes due to the war. But there can be no doubt of the excellent effect of one of them, namely, the increasing knowledge and use among us of the pleasant language of France. It is no exaggeration to say that, before the war, few people in the United States, even among the colored population, spoke French with ease. In fact, in some cases the discomfort was so obvious as to be almost painful. This is now entirely altered. Thanks to our military guide-books, and to the general feeling of the day, our citizens are setting themselves to acquire the language of our gallant ally. And the signs are that they will do it. One hears every day in metropolitan society such remarks as, "Have you read, 'Soo le foo?'" "Oh, you mean that book by Haingri Barbooze? No, I have not read it yet, but I have read 'Mong Swassant Quinz' you know, by that other man."

This is hopeful indeed. Nor need we wonder that our best magazines are reflecting the same tendency.

Here for instance are the opening sentences of a very typical serial now running in one of our best periodicals: for all I know the rest of the sentences may be like them. At any rate, any magazine reader will recognize them at once:

BONNE MERE PITOU

A Conte of Old Normandy

Bonne Mere Pitou sat spinning beside the porte of the humble chaumiere in which she dwelt. From time to time her eyes looked up and down the gran' route that passed her door.

"Il ne vient pas," she murmured (he does not come).

She rose wearily and went dedans. Presently she came out again, dehors. "Il ne vient toujours pas," she sighed (he still does not come).

About her in the tall trees of the allee the percherons twittered while the soft roucoulement of the bees murmured drowsily in the tall calice of the chou-fleur.

"Il n'est pas venu," she said (perfect tense, third singular, he is not, or has not, come).

Can we blame him if he didn't? No doubt he was still studying his active verb before tackling Mere Pitou.

But there! Let it pass. In any case it is not only the magazines, but the novels themselves, that are being transformed by the war. Witness this:

BY ONE OF OUR MOST POPULAR NOVELISTS

"It was in the summer house, at the foot of the old garden, that the awaited declaration came. Edwin kneeled at Angelina's feet. At last they were alone! The successful barrage of conversation which he had put up at breakfast had compelled her mother to remain in her trenches, and had driven her father to the shelter of his dug-out. Her younger brother he had camouflaged with the present of a new fishing rod, thus inducing him to retire to the river. The communications with the servants had been cut. Of the strict neutrality of the gardener he was already assured. Edwin felt that the moment had come for going over the top. Yet being an able strategist, he was anxious not to attempt to advance on too wide a front.

"Angelina!" he exclaimed, raising himself to one knee with his hands outstretched toward her. The girl started as at the sound of an air bomb; for a moment she elevated her eyes and looked him full in the tangent, then she lowered them again but continued to observe him through her mental periscope.

"Angelina," he repeated, "I have a declaration to make."

"As from what date?" she questioned quietly. Edwin drew his watch from his pocket.

"As from this morning, at ten-forty-six," he said. Then, emboldened by her passive attitude, he continued with rising passion in his tone.

"Ever since I first met you I have felt that I could not live without you. I am a changed man. My calibre is altered. I feel ten centimeters wider in the mouth than I did six weeks ago. I feel that my path is altered. I have a new range and an angle of elevation such as I never experienced before. I have hidden my love as best I could till now. I have worn a moral gas-mask before your family. I can do so no longer. Angelina, will you be mine, forming with me a single unit, drawing our rations from the same field kitchen and occupying the same divisional headquarters?"

The girl seemed to hesitate. She raised her eyes to his.

"We know one another so little," she murmured.

Edwin felt that his offensive was failing. He therefore hastened to bring up his means of support.

"I have an ample income of my own," he pleaded.

Angelina raised her eyes again. It was evident that she was about to surrender. But at this moment her mother's voice was heard calling, "Angelina, Angelina, my dear, where are you?"

The barrage had broken down.

"Quick," said the girl, "mobilize yourself. Pick up that tennis racket and let us hurry to the court and dig ourselves in."

"But my declaration," urged Edwin eagerly.

"Accepted," she said, "as from eleven-two this morning."

V.--Other Impossibilities

1.--The Art of Conversation

I--HOW TO INTRODUCE TWO PEOPLE TO ONE ANOTHER

Nothing is more important in introducing two people to each other than to employ a fitting form of words. The more usually recognized forms are easily learned and committed to memory and may be utilized as occasion requires. I pass over such rudimentary formulas as "Ed, shake hands with Jim Taylor," or, "Boys, this is Pete, the new hand; Pete, get hold of the end of that cant-hook." In fact, we are speaking only of polite society as graced by the fair sex, the only kind that we need care about.

The Third Avenue Procedure

A very neat and convenient form is that in vogue in Third Avenue circles, New York, as, for instance, at a fifty-cents-a-head dance (ladies free) in the hall of the Royal Knights of Benevolence.

"Miss Summerside, meet Mr. O'Hara," after which Miss Summerside says very distinctly, "Mr. O'Hara," and Mr. O'Hara says with equal clearness "Miss Summerside." In this circle a mark of exquisite breeding is found in the request to have the name repeated. "I don't quite catch the name!" says Mr. O'Hara critically; then he catches it and repeats it--"Miss Summerside."

"Catching the name" is a necessary part of this social encounter. If not caught the first time it must be put over again. The peculiar merit of this introduction is that it lets Miss Summerside understand clearly that Mr. O'Hara never heard of her before. That helps to keep her in her place.

In superior circles, however, introduction becomes more elaborate, more flattering, more unctuous. It reaches its acme in what everyone recognizes at once as

The Clerical Method

This is what would be instinctively used in Anglican circles--as, for example, by the Episcopal Bishop of Boof in introducing a Canon of the Church to one of the "lady workers" of the congregation (meaning a lady too rich to work) who is expected to endow a crib in the Diocesan Home for Episcopal Cripples. A certain quantity of soul has to be infused into this introduction. Anybody who has ever heard it can fill in the proper accentuation, which must be very rich and deep.

"Oh, Mrs. Putitover, MAY I introduce my very dear old friend, Canon Cutitout? The Canon, Mrs. Putitover, is one of my DEAREST friends. Mrs. Putitover, my dear Canon, is quite one of our most enthusiastic workers."

After which outburst of soul the Bishop is able to add, "Will you excuse me, I'm afraid I simply MUST run."

Personally, I have never known or met a Bishop in society in any other situation than just about to run. Where they run to, I do not know. But I think I understand what they run from.

The Lounge Room of the Club

Equally high in the social scale but done quite differently is the Club Introduction. It is done by a club man who, for the life of him, can't remember the names of either of the two club men whom he is introducing, and who each, for the life of him, can't think of the name of the man they are being introduced by. It runs--

"Oh, I say, I beg your pardon--I thought, of course, you two fellows knew one another perfectly well--let me introduce--urr----wurr----"

Later on, after three whiskey-and-sodas, each of the three finds out the names of the other two, surreptitiously from the hall porter. But it makes no difference. They forget them again anyway. Now let us move up higher, in fact, very high. Let us approach the real thing.

Introduction to H.E. the Viceroy of India, K.C.B., K.C.S.I., S.O.S.

The most exalted form of introduction is seen in the presentation of Mr. Tomkins, American tourist, to H.E. the Viceroy of India. An aide-de-camp in uniform at the foot of a grand staircase shouts, "Mr. Tomkins!" An aide-de-camp at the top (one minute later) calls "Mr. Thompson"; another aide, four feet further on, calls "Mr. Torps."

Then a military secretary, standing close to His Excellency, takes Mr. Tomkins by the neck and bends him down toward the floor and says very clearly and distinctly, "Mr. Torpentine." Then he throws him out by the neck into the crowd beyond and calls for another. The thing is done. Mr. Tomkins wipes the perspiration from his hair with his handkerchief and goes back at full speed to the Hoogli Hotel, Calcutta, eager for stationery to write at once to Ohio and say that he knows the Viceroy.

The Office Introduction, One-sided

This introduction comes into our office, slipping past whoever keeps the door with a packet of books under its arm. It says--

"Ledd me introduze myself. The book proposition vidge I am introduzing is one vidge ve are now pudding on the market..."

Then, of two things, one--

Either a crash of glass is heard as the speaker is hurled through the skylight, or he walks out twenty minutes later, bowing profusely as he goes, and leaving us gazing in remorse at a signed document entitling us to receive the "Masterpieces of American Poetry" in sixty volumes.

On the Stage

Everything on the stage is done far better than in real life. This is true of introductions. There is a warmth, a soul, in the stage introduction not known in the chilly atmosphere of everyday society. Let me quote as an example of a stage introduction the formula used, in the best melodramatic art, in the kitchen-living-room (stove right centre) of the New England farm.

"Neighbour Jephson's son, this is my little gal, as good and sweet a little gal, as mindful of her old father, as you'll find in all New England. Neighbour Jephson's son, she's been my all in all to me, this little gal, since I laid her mother in the ground five Christmases ago--" The speaker is slightly overcome and leans against a cardboard clock for strength: he recovers and goes on--"Hope, this is Neighbour Jephson's son, new back from over the seas, as fine a lad, gal, if he's like the folk that went before him, as ever followed the sea. Hope, your hand. My boy, your hand. See to his comfort, Hope, while I go and read the Good Book a spell in the barnyard."

The Indian Formula

Many people, tired of the empty phrases of society, look back wistfully to the simple direct speech of savage life. Such persons will find useful the usual form of introduction (the shorter form) prevalent among our North American Indians (at least as gathered from the best literary model):

"Friends and comrades who are worthy,
See and look with all your eyesight,
Listen with your sense of hearing,
Gather with your apprehension--
Bow your heads, O trees, and hearken.
Hush thy rustling, corn, and listen;
Turn thine ear and give attention;
Ripples of the running water,
Pause a moment in your channels--
Here I bring you,--Hiawatha."

The last line of this can be changed to suit the particular case. It can just as easily read, at the end, "Here is Henry Edward Eastwood," or, "Here is Hal McGiverin, Junior," or anything else. All names fit the sense. That, in fact, was the wonderful art of Longfellow--the sense being independent of the words.

The Platform Introduction

Here is a form of introduction cruelly familiar to those who know it. It is used by the sour-looking villain facetiously called in newspaper reports the "genial chairman" of the meeting. While he is saying it the victim in his little chair on the platform is a target for the eyes of a thousand people who are wondering why he wears odd socks.

"The next speaker, ladies and gentlemen, is one who needs no introduction to this gathering. His name" (here the chairman consults a little card) "is one that has become a household word. His achievements in" (here the chairman looks at his card again, studies it, turns it upside down and adds) "in many directions are familiar to all of you." There is a feeble attempt at applause and the chairman then lifts his hand and says in a plain business-like tone--"Will those of the audience who are leaving kindly step as lightly as possible." He is about to sit down, but then adds as a pleasant afterthought for the speaker to brood over--"I may say, while I am on my feet, that next week our society is to have a REAL treat in hearing--et cetera and so forth--"

II--HOW TO OPEN A CONVERSATION

After the ceremony of introduction is completed the next thing to consider is the proper way to open a conversation. The beginning of conversation is really the hardest part. It is the social equivalent to "going over the top." It may best be studied in the setting and surroundings of the Evening Reception, where people stand upright and agonise, balancing a dish of ice-cream. Here conversation reaches its highest pitch of social importance. One must talk or die. Something may be done to stave it off a little by vigorous eating. But the food at such affairs is limited. There comes a point when it is absolutely necessary to say something.

The beginning, as I say, is the hardest problem. Other communities solve it better than we do.

The Chinese System

In China conversation, between strangers after introduction, is always opened by the question, "And how old are YOU?" This strikes me as singularly apt and sensible. Here is the one thing that is common ground between any two people, high or low, rich or poor--how far are you on your pilgrimage in life?

The Penetentiary Method

Compare with the Chinese method the grim, but very significant formula that is employed (I believe it is a literal fact) in the exercise yards of the American penitentiaries. "What have YOU brought?" asks the San Quentin or Sing Sing convict of the new arrival, meaning, "And how long is your sentence?" There is the same human touch about this, the same common ground of interest, as in the Chinese formula.

Polite Society

But in our polite society we have as yet found no better method than beginning with a sort of medical diagnosis--"How do you do?" This admits of no answer. Convention forbids us to reply in detail that we are feeling if anything slightly lower than last week, but that though our temperature has risen from ninety-one-fifty to ninety-one-seventy-five, our respiration is still normal.

Still worse is the weather as an opening topic. For it either begins and ends as abruptly as the medical diagnosis, or it leads the two talkers on into a long and miserable discussion of the weather of yesterday, of the day before yesterday, of last month, of last year and the last fifty years.

Let one beware, however, of a conversation that begins too easily.

The Mutual Friends' Opening

This can be seen at any evening reception, as when the hostess introduces two people who are supposed to have some special link to unite them at once with an instantaneous snap, as when, for instance, they both come from the same town.

"Let me introduce Mr. Sedley," said the hostess. "I think you and Mr. Sedley are from the same town, Miss Smiles. Miss Smiles, Mr. Sedley."

Off they go at a gallop. "I'm so delighted to meet you," says Mr. Sedley. "It's good to hear from anybody who comes from our little town." (If he's a rollicking humourist, Mr. Sedley calls it his little old "burg.")

"Oh, yes," answers Miss Smiles. "I'm from Winnipeg too. I was so anxious to meet you to ask if you knew the McGowans. They're my greatest friends at home."

"The--who?" asks Mr. Sedley.

"The McGowans--on Selkirk Avenue."

"No-o, I don't think I do. I know the Prices on Selkirk Avenue. Of course you know them."

"The Prices? No, I don't believe I do--I don't think I ever heard of the Prices. You don't mean the Pearsons? I know them very well."

"No, I don't know the Pearsons. The Prices live just near the reservoir."

"No, then I'm sure I don't know them. The Pearsons live close to the college."

"Close to the College? Is it near the William Kennedys?"

"I don't think I know the William Kennedys."

This is the way the conversation goes on for ten minutes. Both Mr. Sedley and Miss Smiles are getting desperate. Their faces are fixed. Their sentences are reduced to--

"Do you know the Petersons?"

"No. Do you know the Appleby's?"

"No. Do you know the Willie Johnsons?"

"No."

Then at last comes a rift in the clouds. One of them happens to mention Beverley Dixon. The other is able to cry exultingly--

"Beverley Dixon? Oh, yes, rather. At least, I don't KNOW him, but I used often to hear the Applebys speak of him."

And the other exclaims with equal delight--

"I don't know him very well either, but I used to hear the Willie Johnsons talk about him all the time."

They are saved.

Half an hour after they are still standing there talking of Beverly Dixon.

The Etiquette Book

Personally I have suffered so much from inability to begin a conversation that not long ago I took the extreme step of buying a book on the subject. I regret to say that I got but little light or help from it. It was written by the Comtesse de Z--. According to the preface the Comtesse had "moved in the highest circles of all the European capitals." If so, let her go on moving there. I for one, after trying her book, shall never stop her. This is how the Comtesse solves the problem of opening a conversation:

"In commencing a conversation, the greatest care should be devoted to the selection of a topic, good taste demanding that one should sedulously avoid any subject of which one's vis-a-vis may be in ignorance. Nor are the mere words alone to be considered. In the art of conversation much depends upon manner. The true conversationalist must, in opening, invest himself with an atmosphere of interest and solicitude. He must, as we say in French, be prepared to payer les rais de la conversation. In short, he must 'give himself an air.'"

There! Go and do it if you can. I admit that I can't. I have no idea what the French phrase above means, but I know that personally I cannot "invest myself with an atmosphere of interest." I might manage about two per cent on five hundred dollars. But what is that in these days of plutocracy?

At any rate I tried the Comtesse's directions at a reception last week, on being introduced to an unknown lady. And they failed. I cut out nearly all the last part, and confined myself merely to the proposed selection of a topic, endeavouring to pick it with as much care as if I were selecting a golf club out of a bag. Naturally I had to confine myself to the few topics that I know about, and on which I can be quite interesting if I get started.

"Do you know any mathematics?" I asked.

"No," said the lady.

This was too bad. I could have shown her some good puzzles about the squares of the prime numbers up to forty-one.

I paused and gave myself more air.

"How are you," I asked, "on hydrostatics?"

"I beg your pardon," she said. Evidently she was ignorant again.

"Have you ever studied the principles of aerial navigation?" I asked.

"No," She answered.

I was pausing again and trying to invest myself with an air of further interest, when another man was introduced to her, quite evidently, from his appearance, a vapid jackass without one tenth of the brain calibre that I have.

"Oh, how do you do?" he said. "I say, I've just heard that Harvard beat Princeton this afternoon. Great, isn't it?"

In two minutes they were talking like old friends. How do these silly asses do it?

When Dressed Hogs are Dull

An equally unsuccessful type of conversation, often overheard at receptions, is where one of the two parties to it is too surly, too stupid, or too self-important and too rich to talk, and the other labours in vain.

The surly one is, let us say, a middle-aged, thick-set man of the type that anybody recognizes under the name Money Hog. This kind of person, as viewed standing in his dress suit, mannerless and stupid, too rich to have to talk and too dull to know how to, always recalls to my mind the head-line of the market reports in the newspapers, "Dressed Hogs are Dull."

The other party to the conversation is a winsome and agreeable woman, trying her best to do her social duty.

But, tenez, as the Comtesse of Z---- would say, I can exactly illustrate the position and attitude of the two of them from a recollection of my childhood. I remember that in one of my nursery books of forty years ago there was a picture entitled "The Lady in Love With A Swine." A willowy lady in a shimmering gown leaned over the rail of a tessellated pig-sty, in which an impossibly clean hog stood in an attitude of ill-mannered immobility. With the picture was the rhyming legend,

There was a Lady in love with a swine,
"Honey," said she, "will you be mine?
I'll build you a silver sty
And in it you shall lie."
"Honk!" said He.

There was something, as I recall it, in the sweet willingness of the Lady that was singularly appealing, and contrasted with the dull mannerless passivity of the swine.

In each of the little stanzas that followed, the pretty advances of the Lady were rebuffed by a surly and monosyllabic "honk" from the hog.

Here is the social counterpart of the scene in the picture-book. Mr. Grunt, capitalist, is standing in his tessellated sty,--the tessellated sty being represented by the hardwood floor of a fashionable drawing-room. His face is just the same as the face of the pig in the picture-book. The willowy lady, in the same shimmering clothes and with the same pretty expression of eagerness, is beside him.

"Oh, Mr. Grunt," she is saying, "how interesting it must be to be in your place and feel such tremendous power. Our hostess was just telling me that you own practically all the shoemaking machinery factories--it IS shoe-making machinery, isn't it?--east of Pennsylvania."

"Honk!" says Mr. Grunt.

"Shoe-making machinery," goes on the willowy lady (she really knows nothing and cares less about it) "must be absolutely fascinating, is it not?"

"Honk!" says Mr. Grunt.

"But still you must find it sometimes a dreadful strain, do you not? I mean, so much brain work, and that sort of thing."

"Honk!" says Mr. Grunt.

"I should love so much to see one of your factories. They must be so interesting."

"Honk!" says Mr. Grunt. Then he turns and moves away sideways. Into his little piggy eyes has come a fear that the lady is going to ask him to subscribe to something, or wants a block of his common stock, or his name on a board of directors. So he leaves her. Yet if he had known it she is probably as rich as he is, or richer, and hasn't the faintest interest in his factories, and never intends to go near one. Only she is fit to move and converse in polite society and Mr. Grunt is not.

2.--Heroes and Heroines

"What are you reading?" I asked the other day of a blue-eyed boy of ten curled up among the sofa cushions.

He held out the book for me to see.

"Dauntless Ned among the Cannibals," he answered.

"Is it exciting?" I enquired.

"Not very," said the child in a matter-of-fact tone. "But it's not bad."

I took the book from him and read aloud at the opened page.

"In a compact mass the gigantic savages rushed upon our hero, shrieking with rage and brandishing their huge clubs. Ned stood his ground fearlessly, his back to a banana tree. With a sweep of his cutlass he severed the head of the leading savage from his body, while with a back stroke of his dirk he stabbed another to the heart. But resistance against such odds was vain. By sheer weight of numbers, Ned was borne to the ground. His arms were then pinioned with stout ropes made of the fibres of the boobooda tree. With shrieks of exultation the savages dragged our hero to an opening in the woods where a huge fire was burning, over which was suspended an enormous caldron of bubbling oil. 'Boil him, boil him,' yelled the savages, now wrought to the point of frenzy."

"That seems fairly exciting, isn't it?" I said.

"Oh, he won't get boiled," said the little boy. "He's the hero."

So I knew that the child has already taken his first steps in the disillusionment of fiction.

Of course he was quite right as to Ned. This wonderful youth, the hero with whom we all begin an acquaintance with books, passes unhurt through a thousand perils. Cannibals, Apache Indians, war, battles, shipwrecks, leave him quite unscathed. At the most Ned gets a flesh wound which is healed, in exactly one paragraph, by that wonderful drug called a "simple."

But the most amazing thing about this particular hero, the boy Ned, is the way in which he turns up in all the great battles and leading events of the world.

It was Ned, for example, who at the critical moment at Gettysburg turned in his saddle to General Meade and said quietly, "General, the day is ours." "If it is," answered Meade, as he folded his field glass, "you alone, Ned, have saved it."

In the same way Ned was present at the crossing of the Delaware with Washington. Thus:--

"'What do you see, Ned?' said Washington, as they peered from the leading boat into the driving snow.

"'Ice,' said Ned. 'My boy,' said the Great American General, and a tear froze upon his face as he spoke, 'you have saved us all.'"

Here is Ned at Runningmede when King John with his pen in hand was about to sign the Magna Carta.

"For a moment the King paused irresolute, the uplifted quill in his hand, while his crafty, furtive eyes indicated that he might yet break his plighted faith with the assembled barons.

"Ned laid his mailed hand upon the parchment.

"'Sign it,' he said sternly, 'or take the consequences.'

"The King signed.

"'Ned,' said the Baron de Bohun, as he removed his iron vizor from his bronze face, 'thou hast this day saved all England.'"

In the stories of our boyhood in which Ned figured, there was no such thing as a heroine, or practically none. At best she was brought in as an afterthought. It was announced on page three hundred and one that at the close of Ned's desperate adventures in the West Indies he married the beautiful daughter of Don Diego, the Spanish governor of Portobello; or else, at the end of the great war with Napoleon, that he married a beautiful and accomplished French girl whose parents had perished in the Revolution.

Ned generally married away from home. In fact his marriages were intended to cement the nations, torn asunder by Ned's military career. But sometimes he returned to his native town, all sunburned, scarred and bronzed from battle (the bronzing effect of being in battle is always noted): he had changed from a boy to a man: that is, from a boy of fifteen to a man of sixteen. In such a case Ned marries in his own home town. It is done after this fashion:

"But who is this who advances smiling to greet him as he crosses the familiar threshold of the dear old house? Can this tall, beautiful girl be Gwendoline, the child-playmate of his boyhood?"

Well, can it? I ask it of every experienced reader--can it or can it not?

Ned had his day, in the boyhood of each of us. We presently passed him by. I am speaking, of course, of those of us who are of maturer years and can look back upon thirty or forty years of fiction reading. "Ned," flourishes still, I understand, among the children of today. But now he flies in aeroplanes, and dives in submarines, and gives his invaluable military advice to General Joffre and General Pershing.

But with the oncoming of adolescent years something softer was needed than Ned with his howling cannibals and his fusillade of revolver shots.

So the "Ned" of the Adventure Books was supplanted by the Romantic Heroine of the Victorian Age and the Long-winded Immaculate who accompanied her as the Hero.

I do not know when these two first opened their twin career. Whether Fenimore Cooper or Walter Scott began them, I cannot say. But they had an undisputed run on two continents for half a century.

This Heroine was a sylph. Her chiefest charm lay in her physical feebleness. She was generally presented to us in some such words as these:

"Let us now introduce to our readers the fair Madeline of Rokewood. Slender and graceful and of a form so fragile that her frame scarce fitted to fulfil its bodily functions...she appeared rather as one of those ethereal beings of the air who might visit for a brief moment this terrestrial scene, than one of its earthly inhabitants. Her large, wondering eyes looked upon the beholder in childlike innocence."

Sounds simple, doesn't it? One might suspect there was something wrong with the girl's brain. But listen to this:--

"The mind of Madeline, elegantly formed by the devoted labours of the venerable Abbe, her tutor, was of a degree of culture rarely found in one so young. Though scarce eighteen summers had flown over her head at the time when we introduce her to our readers, she was intimately conversant with the French, Italian, Spanish, and Provencal tongues. The abundant pages of history, both ancient and modern, sacred and profane, had been opened for her by her devoted instructor. In music she played with exquisite grace and accuracy upon both the spinet and the harpsichord, while her voice, though lacking something in compass, was sweet and melodious to a degree."

From such a list of accomplishments it is clear that Madeline could have matriculated, even at the Harvard Law School, with five minutes preparation. Is it any wonder that there was a wild rush for Madeline? In fact, right after the opening description of the Heroine, there follows an ominous sentence such as this:--

"It was this exquisite being whose person Lord Rip de Viperous, a man whose reputation had shamed even the most licentious court of the age, and had led to his banishment from the presence of the king, had sworn to get within his power."

Personally I don't blame Lord Rip a particle; it must have been very rough on him to have been banished from the presence of the king--enough to inflame a man to do anything.

With two such characters in the story, the scene was set and the plot and adventures followed as a matter of course. Lord Rip de Viperous pursued the Heroine. But at every step he is frustrated. He decoys Madeline to a ruined tower at midnight, her innocence being such and the gaps left in her education by the Abbe being so wide, that she is unaware of the danger of ruined towers after ten thirty P.M. In fact, "tempted by the exquisite clarity and fulness of the moon, which magnificent orb at this season spread its widest effulgence over all nature, she accepts the invitation of her would-be-betrayer to gather upon the battlements of the ruined keep the strawberries which grew there in wild profusion."

But at the critical moment, Lord de Viperous is balked. At the very instant when he is about to seize her in his arms, Madeline turns upon him and says in such icy tones, "Titled villain that you are, unhand me," that the man is "cowed." He slinks down the ruined stairway "cowed." And at every later turn, at each renewed attempt, Madeline "cows" him in like fashion.

Moreover while Lord de Viperous is being thus cowed by Madeline the Heroine, he is also being "dogged" by the Hero. This counterpart of Madeline who shared her popularity for fifty years can best be described as the Long-winded Immaculate Hero. Entirely blameless in his morals, and utterly virtuous in his conduct, he possessed at least one means of defending himself. He could make speeches. This he did on all occasions. With these speeches he "dogged" Lord de Viperous. Here is the style of them:--

"'My Lord,' said Markham..." (incidentally let it be explained that this particular brand of hero was always known by his surname and his surname was always Markham) --"'My lord, the sentiments that you express and the demeanour which you have evinced are so greatly at variance with the title that you bear and the lineage of which you spring that no authority that you can exercise and no threats that you are able to command shall deter me from expressing that for which, however poor and inadequate my powers of speech, all these of whom and for what I am what I am, shall answer to it for the integrity of that, which, whether or not, is at least as it is. My lord, I have done. Or shall I speak more plainly still?'"

Is it to be wondered that after this harangue Lord Rip sank into a chair, a hideous convulsion upon his face, murmuring--"It is enough."

But successful as they were as Hero and Heroine, Markham and Madeline presently passed off the scene. Where they went to, I do not know. Perhaps Markham got elected in the legislature of Massachusetts. At any rate they disappeared from fiction.

There followed in place of Madeline, the athletic sunburned heroine with the tennis racket. She was generally called Kate Middleton, or some such plain, straightforward designation. She wore strong walking boots and leather leggings. She ate beef steak. She shot with a rifle. For a while this Boots and Beef Heroine (of the middle nineties) made a tremendous hit. She climbed crags in the Rockies. She threw steers in Colorado with a lariat. She came out strong in sea scenes and shipwrecks, and on sinking steamers, where she "cowed" the trembling stewards and "dogged" the mutinous sailors in the same fashion that Madeline used to "cow" and "dog" Lord Rip de Viperous.

With the Boots and Beef Heroine went as her running mate the out-of-doors man, whose face had been tanned and whose muscles had been hardened into tempered steel in wild rides over the Pampas of Patagonia, and who had learned every art and craft of savage life by living among the wild Hoodoos of the Himalayas. This Air-and-Grass-man, as he may be called, is generally supposed to write the story... He was "I" all through. And he had an irritating modesty in speaking of his own prowess. Instead of saying straight out that he was the strongest and bravest man in the world, he implied it indirectly on every page.

Here, for example, is a typical scene in which "I" and Kate figure in a desperate adventure in the Rocky Mountains, pursued by Indians.

"We are about to descend on a single cord from the summit of a lofty crag, our sole chance of escape (and a frightfully small chance at that) from the roving band of Apaches.

"With my eye I measured the fearsome descent below us.

"'Hold fast to the line, Miss Middleton,' I said as I set my foot against a projecting rock. (Please note that the Air-and-Grass Hero in these stories always calls the Heroine Miss Middleton right up to the very end.)

"The noble girl seized the knotted end of the buckskin line. 'All right, Mr. Smith,' she said with quiet confidence.

"I braced myself for the effort. My muscles like tempered steel responded to the strain. I lowered a hundred fathoms of the line. I could already hear the voice of Kate far down the cliff.

"Don't let go the line, Miss Middleton,' I called. (Here was an excellent piece of advice.)

"The girl's clear voice floated up to me... 'All right, Mr. Smith,' she called, 'I won't.'"

Of course they landed safely at the foot of the cliff, after the manner of all heroes and heroines. And here it is that Kate in her turn comes out strong, at the evening encampment, frying bacon over a blazing fire of pine branches, while the firelight illuminates her leather leggings and her rough but picturesque costume.

The circumstances might seem a little daring and improper. But the reader knows that it is all right, because the hero and heroine always call one another Miss Middleton and Mr. Smith.

Not till right at the end, when they are just getting back again to the confines of civilization, do they depart from this.

Here is the scene that happens... The hero and heroine are on the platform of the way-side depot where they are to part... Kate to return to the luxurious home of her aunt, Mrs. van der Kyper of New York, and the Air-and-Grass Man to start for the pampas of Patagonia to hunt the hoopoo. The Air-and-Grass Man is about to say goodbye. Then... "'Kate,' I said, as I held the noble girl's gloved hand in mine a moment. She looked me in the face with the full, frank, fearless gaze of a sister.

"'Yes?' she answered.

"'Kate,' I repeated, 'do you know what I was thinking of when I held the line while you were half way down the cliff?'

"'No,' she murmured, while a flush suffused her cheek.

"'I was thinking, Kate,' I said, 'that if the rope broke I should be very sorry.'

"'Edward!' she exclaimed.

"I clasped her in my arms.

"'Shall I make a confession,' said Kate, looking up timidly, half an hour later, as I tenderly unclasped the noble girl from my encircling arms, ...'I was thinking the same thing too.'"

So Kate and Edward had their day and then, as Tennyson says, they "passed," or as less cultivated people put it, "they were passed up in the air."

As the years went by they failed to please. Kate was a great improvement upon Madeline. But she wouldn't do. The truth was, if one may state it openly, Kate wasn't TOUGH enough. In fact she wasn't tough at all. She turned out to be in reality just as proper and just as virtuous as Madeline.

So, too, with the Air-and-Grass Hero. For all of his tempered muscles and his lariat and his Winchester rifle, he was presently exposed as a fraud. He was just as Long-winded and just as Immaculate as the Victorian Hero that he displaced.

What the public really wants and has always wanted in its books is wickedness. Fiction was recognised in its infancy as being a work of the devil.

So the popular novel, despairing of real wickedness among the cannibals, and in the ruined tower at midnight, and on the open-air of the prairies, shifted its scenes again. It came indoors. It came back to the city. And it gave us the new crop of heroes and heroines and the scenes and settings with which the fiction of to-day has replaced the Heroes and Heroines of Yesterday. The Lure of the City is its theme. It pursues its course to the music of the ukalele, in the strident racket of the midnight cabaret. Here move the Harvard graduate in his dinner jacket, drunk at one in the morning. Here is the hard face of Big Business scowling at its desk; and here the glittering Heroine of the hour in her dress of shimmering sequins, making such tepid creatures as Madeline and Kate look like the small change out of a twenty-five cent shinplaster.

3.--The Discovery of America;
Being Done into Moving Pictures and Out Again

"No greater power for education," said President Shurman the other day, "has come among us during the last forty years than the moving picture."

I am not certain that it was President Shurman. And he may not have said it the other day. Nor do I feel absolutely sure that he referred to the LAST forty years. Indeed now that I come to think of it, I don't believe it WAS Shurman. In fact it may have been ex-President Eliot. Or was it, perhaps, President Hadley of Yale? Or did I say it myself? Judging by the accuracy and force of the language, I think I must have. I doubt if Shurman or Hadley could have put it quite so neatly. There's a touch about it that I recognise.

But let that pass. At any rate it is something that everybody is saying and thinking. All our educators have turned their brains towards the possibility of utilising moving pictures for the purpose of education. It is being freely said that history and geography, and even arithmetic, instead of being taught by the slow and painful process of books and memory, can be imparted through the eye.

I had no sooner heard of this idea than I became impassioned to put it into practice. I have therefore prepared, or am preparing, a film, especially designed for the elementary classes of our schools to narrate the story of the discovery of America.