Chapter II: Part 2

The accidents of a life turned by chance out of the beaten tracks, have thrown me at times into acquaintanceship with some of the greater lights of the last thirty years. And not only have they been, as a rule, most unassuming men and women; but in the majority of cases positively self- depreciatory; doubting of themselves and their talents, constantly aiming at greater perfection in their art or a higher development of their powers, never contented with what they have achieved, beyond the idea that it has been another step toward their goal. Knowing this, it is always a shock on meeting the mediocre people who form such a discouraging majority in any society, to discover that they are all so pleased with themselves, their achievements, their place in the world, and their own ability and discernment!

Who has not sat chafing in silence while Mediocrity, in a white waistcoat and jangling fobs, occupied the after-dinner hour in imparting second- hand information as his personal views on literature and art? Can you not hear him saying once again: "I don't pretend to know anything about art and all that sort of thing, you know, but when I go to an exhibition I can always pick out the best pictures at a glance. Sort of a way I have, and I never make mistakes, you know."

Then go and watch, as I have, Henri Rochefort as he laboriously forms the opinions that are to appear later in one of his "_Salons_," realizing the while that he is _facile princeps_ among the art critics of his day, that with a line he can make or mar a reputation and by a word draw the admiring crowd around an unknown canvas. While Rochefort toils and ponders and hesitates, do you suppose a doubt as to his own astuteness ever dims the self-complacency of White Waistcoat? Never!

There lies the strength of the feeble-minded. By a special dispensation of Providence, they can never see but one side of a subject, so are always convinced that they are right, and from the height of their contentment, look down on those who chance to differ with them.

A lady who has gathered into her dainty salons the fruit of many years' careful study and tireless "weeding" will ask anxiously if you are quite sure you like the effect of her latest acquisition--some eighteenth-century statuette or screen (flotsam, probably, from the great shipwreck of Versailles), and listen earnestly to your verdict. The good soul who has just furnished her house by contract, with the latest "Louis Fourteenth Street" productions, conducts you complacently through her chambers of horrors, wreathed in tranquil smiles, born of ignorance and that smug assurance granted only to the--small.

When a small intellect goes in for cultivating itself and improving its mind, you realize what the poet meant in asserting that a little learning was a dangerous thing. For Mediocrity is apt, when it dines out, to get up a subject beforehand, and announce to an astonished circle, as quite new and personal discoveries, that the Renaissance was introduced into France from Italy, or that Columbus in his day made important "finds."

When the incompetent advance another step and write or paint--which, alas! is only too frequent--the world of art and literature is flooded with their productions. When White Waistcoat, for example, takes to painting, late in life, and comes to you, canvas in hand, for criticism (read praise), he is apt to remark modestly:

"Corot never painted until he was fifty, and I am only forty-eight. So I feel I should not let myself be discouraged."

The problem of life is said to be the finding of a happiness that is not enjoyed at the expense of others, and surely this class have solved that Sphinx's riddle, for they float through their days in a dream of complacency disturbed neither by corroding doubt nor harassed by jealousies.

Whole families of feeble-minded people, on the strength of an ancestor who achieved distinction a hundred years ago, live in constant thanksgiving that they "are not as other men." None of the great man's descendants have done anything to be particularly proud of since their remote progenitor signed the Declaration of Independence or governed a colony. They have vegetated in small provincial cities and inter-married into other equally fortunate families, but the sense of superiority is ever present to sustain them, under straitened circumstances and diminishing prestige. The world may move on around them, but they never advance. Why should they? They have reached perfection. The brains and enterprise that have revolutionized our age knock in vain at their doors. They belong to that vast "majority that is always in the wrong," being so pleased with themselves, their ways, and their feeble little lines of thought, that any change or advancement gives their system a shock.

A painter I know was once importuned for a sketch by a lady of this class. After many delays and renewed demands he presented her one day, when she and some friends were visiting his studio, with a delightful open-air study simply framed. She seemed confused at the offering, to his astonishment, as she had not lacked _aplomb_ in asking for the sketch. After much blushing and fumbling she succeeded in getting the painting loose, and handing back the frame, remarked:

"I will take the painting, but you must keep the frame. My husband would never allow me to accept anything of value from you!"--and smiled on the speechless painter, doubtless charmed with her own tact.

Complacent people are the same drag on a society that a brake would be to a coach going up hill. They are the "eternal negative" and would extinguish, if they could, any light stronger than that to which their weak eyes have been accustomed. They look with astonishment and distrust at any one trying to break away from their tiresome old ways and habits, and wonder why all the world is not as pleased with their personalities as they are themselves, suggesting, if you are willing to waste your time listening to their twaddle, that there is something radically wrong in any innovation, that both "Church and State" will be imperilled if things are altered. No blight, no mildew is more fatal to a plant than the "complacent" are to the world. They resent any progress and are offended if you mention before them any new standards or points of view. "What has been good enough for us and our parents should certainly be satisfactory to the younger generations." It seems to the contented like pure presumption on the part of their acquaintances to wander after strange gods, in the shape of new ideals, higher standards of culture, or a perfected refinement of surroundings.

We are perhaps wrong to pity complacent people. It is for another class our sympathy should be kept; for those who cannot refrain from doubting of themselves and the value of their work--those unfortunate gifted and artistic spirits who descend too often the _via dolorosa_ of discontent and despair, who have a higher ideal than their neighbors, and, in struggling after an unattainable perfection, fall by the wayside.

No. 7--The Discontent of Talent

The complacency that buoys up self-sufficient souls, soothing them with the illusion that they themselves, their towns, country, language, and habits are above improvement, causing them to shudder, as at a sacrilege, if any changes are suggested, is fortunately limited to a class of stay- at-home nonentities. In proportion as it is common among them, is it rare or delightfully absent in any society of gifted or imaginative people.

Among our globe-trotting compatriots this defect is much less general than in the older nations of the world, for the excellent reason, that the moment a man travels or takes the trouble to know people of different nationalities, his armor of complacency receives so severe a blow, that it is shattered forever, the wanderer returning home wiser and much more modest. There seems to be something fatal to conceit in the air of great centres; professionally or in general society a man so soon finds his level.

The "great world" may foster other faults; human nature is sure to develop some in every walk of life. Smug contentment, however, disappears in its rarefied atmosphere, giving place to a craving for improvement, a nervous alertness that keeps the mind from stagnating and urges it on to do its best.

It is never the beautiful woman who sits down in smiling serenity before her mirror. She is tireless in her efforts to enhance her beauty and set it off to the best advantage. Her figure is never slender enough, nor her carriage sufficiently erect to satisfy. But the "frump" will let herself and all her surroundings go to seed, not from humbleness of mind or an overwhelming sense of her own unworthiness, but in pure complacent conceit.

A criticism to which the highly gifted lay themselves open from those who do not understand them, is their love of praise, the critics failing to grasp the fact that this passion for measuring one's self with others, like the gad-fly pursuing poor Io, never allows a moment's repose in the green pastures of success, but goads them constantly up the rocky sides of endeavor. It is not that they love flattery, but that they need approbation as a counterpoise to the dark moments of self-abasement and as a sustaining aid for higher flights.

Many years ago I was present at a final sitting which my master, Carolus Duran, gave to one of my fair compatriots. He knew that the lady was leaving Paris on the morrow, and that in an hour, her husband and his friends were coming to see and criticise the portrait--always a terrible ordeal for an artist.

To any one familiar with this painter's moods, it was evident that the result of the sitting was not entirely satisfactory. The quick breathing, the impatient tapping movement of the foot, the swift backward springs to obtain a better view, so characteristic of him in moments of doubt, and which had twenty years before earned him the name of _le danseur_ from his fellow-copyists at the Louvre, betrayed to even a casual observer that his discouragement and discontent were at boiling point.

The sound of a bell and a murmur of voices announced the entrance of the visitors into the vast studio. After the formalities of introduction had been accomplished the new-comers glanced at the portrait, but uttered never a word. From it they passed in a perfectly casual manner to an inspection of the beautiful contents of the room, investigating the tapestries, admiring the armor, and finally, after another glance at the portrait, the husband remarked: "You have given my wife a jolly long neck, haven't you?" and, turning to his friends, began laughing and chatting in English.

If vitriol had been thrown on my poor master's quivering frame, the effect could not have been more instantaneous, his ignorance of the language spoken doubtless exaggerating his impression of being ridiculed. Suddenly he turned very white, and before any of us had divined his intention he had seized a Japanese sword lying by and cut a dozen gashes across the canvas. Then, dropping his weapon, he flung out of the room, leaving his sitter and her friends in speechless consternation, to wonder then and ever after in what way they had offended him. In their opinions, if a man had talent and understood his business, he should produce portraits with the same ease that he would answer dinner invitations, and if they paid for, they were in no way bound also to praise, his work. They were entirely pleased with the result, but did not consider it necessary to tell him so, no idea having crossed their minds that he might be in one of those moods so frequent with artistic natures, when words of approbation and praise are as necessary to them, as the air we breathe is to us, mortals of a commoner clay.

Even in the theatrical and operatic professions, those hotbeds of conceit, you will generally find among the "stars" abysmal depths of discouragement and despair. One great tenor, who has delighted New York audiences during several winters past, invariably announces to his intimates on arising that his "voice has gone," and that, in consequence he will "never sing again," and has to be caressed and cajoled back into some semblance of confidence before attempting a performance. This same artist, with an almost limitless repertoire and a reputation no new successes could enhance, recently risked all to sing what he considered a higher class of music, infinitely more fatiguing to his voice, because he was impelled onward by the ideal that forces genius to constant improvement and development of its powers.

What the people who meet these artists occasionally at a private concert or behind the scenes during the intense strain of a representation, take too readily for monumental egoism and conceit, is, the greater part of the time, merely the desire for a sustaining word, a longing for the stimulant of praise.

All actors and singers are but big children, and must be humored and petted like children when you wish them to do their best. It is necessary for them to feel in touch with their audiences; to be assured that they are not falling below the high ideals formed for their work.

Some winters ago a performance at the opera nearly came to a standstill because an all-conquering soprano was found crying in her dressing-room. After many weary moments of consolation and questioning, it came out that she felt quite sure she no longer had any talent. One of the other singers had laughed at her voice, and in consequence there was nothing left to live for. A half-hour later, owing to judicious "treatment," she was singing gloriously and bowing her thanks to thunders of applause.

Rather than blame this divine discontent that has made man what he is to- day, let us glorify and envy it, pitying the while the frail mortal vessels it consumes with its flame. No adulation can turn such natures from their goal, and in the hour of triumph the slave is always at their side to whisper the word of warning. This discontent is the leaven that has raised the whole loaf of dull humanity to better things and higher efforts, those privileged to feel it are the suns that illuminate our system. If on these luminaries observers have discovered spots, it is well to remember that these blemishes are but the defects of their qualities, and better far than the total eclipse that shrouds so large a part of humanity in colorless complacency.

It will never be known how many master-pieces have been lost to the world because at the critical moment a friend has not been at hand with the stimulant of sympathy and encouragement needed by an overworked, straining artist who was beginning to lose confidence in himself; to soothe his irritated nerves with the balm of praise, and take his poor aching head on a friendly shoulder and let him sob out there all his doubt and discouragement.

So let us not be niggardly or ungenerous in meting out to struggling fellow-beings their share, and perchance a little more than their share of approbation and applause, poor enough return, after all, for the pleasure their labors have procured us. What adequate compensation can we mete out to an author for the hours of delight and self-forgetfulness his talent has brought to us in moments of loneliness, illness, or grief? What can pay our debt to a painter who has fixed on canvas the face we love?

The little return that it is in our power to make for all the joy these gifted fellow-beings bring into our lives is (closing our eyes to minor imperfections) to warmly applaud them as they move upward, along their stony path.

No. 8--Slouch

I should like to see, in every school-room of our growing country, in every business office, at the railway stations, and on street corners, large placards placed with "Do not slouch" printed thereon in distinct and imposing characters. If ever there was a tendency that needed nipping in the bud (I fear the bud is fast becoming a full-blown flower), it is this discouraging national failing.

Each year when I return from my spring wanderings, among the benighted and effete nations of the Old World, on whom the untravelled American looks down from the height of his superiority, I am struck anew by the contrast between the trim, well-groomed officials left behind on one side of the ocean and the happy-go-lucky, slouching individuals I find on the other.

As I ride up town this unpleasant impression deepens. In the "little Mother Isle" I have just left, bus-drivers have quite a coaching air, with hat and coat of knowing form. They sport flowers in their button- holes and salute other bus-drivers, when they meet, with a twist of whip and elbow refreshingly correct, showing that they take pride in their calling, and have been at some pains to turn themselves out as smart in appearance as finances would allow.

Here, on the contrary, the stage and cab drivers I meet seem to be under a blight, and to have lost all interest in life. They lounge on the box, their legs straggling aimlessly, one hand holding the reins, the other hanging dejectedly by the side. Yet there is little doubt that these heartbroken citizens are earning double what their London _confreres_ gain. The shadow of the national peculiarity is over them.

When I get to my rooms, the elevator boy is reclining in the lift, and hardly raises his eye-lids as he languidly manoeuvres the rope. I have seen that boy now for months, but never when his boots and clothes were brushed or when his cravat was not riding proudly above his collar. On occasions I have offered him pins, which he took wearily, doubtless because it was less trouble than to refuse. The next day, however, his cravat again rode triumphant, mocking my efforts to keep it in its place. His hair, too, has been a cause of wonder to me. How does he manage to have it always so long and so unkempt? More than once, when expecting callers, I have bribed him to have it cut, but it seemed to grow in the night, back to its poetic profusion.

In what does this noble disregard for appearances which characterizes American men originate? Our climate, as some suggest, or discouragement at not all being millionaires? It more likely comes from an absence with us of the military training that abroad goes so far toward licking young men into shape.

I shall never forget the surprise on the face of a French statesman to whom I once expressed my sympathy for his country, laboring under the burden of so vast a standing army. He answered:

"The financial burden is doubtless great; but you have others. Witness your pension expenditures. With us the money drawn from the people is used in such a way as to be of inestimable value to them. We take the young hobbledehoy farm-hand or mechanic, ignorant, mannerless, uncleanly as he may be, and turn him out at the end of three years with his regiment, self-respecting and well-mannered, with habits of cleanliness and obedience, having acquired a bearing, and a love of order that will cling to and serve him all his life. We do not go so far," he added, "as our English neighbors in drilling men into superb manikins of 'form' and carriage. Our authorities do not consider it necessary. But we reclaim youths from the slovenliness of their native village or workshop and make them tidy and mannerly citizens."

These remarks came to mind the other day as I watched a group of New England youths lounging on the steps of the village store, or sitting in rows on a neighboring fence, until I longed to try if even a judicial arrangement of tacks, 'business-end up,' on these favorite seats would infuse any energy into their movements. I came to the conclusion that my French acquaintance was right, for the only trim-looking men to be seen, were either veterans of our war or youths belonging to the local militia. And nowhere does one see finer specimens of humanity than West Point and Annapolis turn out.

If any one doubts what kind of men slouching youths develop into, let him look when he travels, at the dejected appearance of the farmhouses throughout our land. Surely our rural populations are not so much poorer than those of other countries. Yet when one compares the dreary homes of even our well-to-do farmers with the smiling, well-kept hamlets seen in England or on the Continent, such would seem to be the case.

If ours were an old and bankrupt nation, this air of discouragement and decay could not be greater. Outside of the big cities one looks in vain for some sign of American dash and enterprise in the appearance of our men and their homes.

During a journey of over four thousand miles, made last spring as the guest of a gentleman who knows our country thoroughly, I was impressed most painfully with this abject air. Never in all those days did we see a fruit-tree trained on some sunny southern wall, a smiling flower-garden or carefully clipped hedge. My host told me that hardly the necessary vegetables are grown, the inhabitants of the West and South preferring canned food. It is less trouble!

If you wish to form an idea of the extent to which slouch prevails in our country, try to start a "village improvement society," and experience, as others have done, the apathy and ill-will of the inhabitants when you go about among them and strive to summon some of their local pride to your aid.

In the town near which I pass my summers, a large stone, fallen from a passing dray, lay for days in the middle of the principal street, until I paid some boys to remove it. No one cared, and the dull-eyed inhabitants would doubtless be looking at it still but for my impatience.

One would imagine the villagers were all on the point of moving away (and they generally are, if they can sell their land), so little interest do they show in your plans. Like all people who have fallen into bad habits, they have grown to love their slatternly ways and cling to them, resenting furiously any attempt to shake them up to energy and reform.

The farmer has not, however, a monopoly. Slouch seems ubiquitous. Our railway and steam-boat systems have tried in vain to combat it, and supplied their employees with a livery (I beg the free and independent voter's pardon, a uniform!), with but little effect. The inherent tendency is too strong for the corporations. The conductors still shuffle along in their spotted garments, the cap on the back of the head, and their legs anywhere, while they chew gum in defiance of the whole Board of Directors.

Go down to Washington, after a visit to the Houses of Parliament or the Chamber of Deputies, and observe the contrast between the bearing of our Senators and Representatives and the air of their _confreres_ abroad. Our law-makers seem trying to avoid every appearance of "smartness." Indeed, I am told, so great is the prejudice in the United States against a well- turned-out man that a candidate would seriously compromise his chances of election who appeared before his constituents in other than the accustomed shabby frock-coat, unbuttoned and floating, a pot hat, no gloves, as much doubtfully white shirt-front as possible, and a wisp of black silk for a tie; and if he can exhibit also a chin-whisker, his chances of election are materially increased.

Nothing offends an eye accustomed to our native _laisser aller_ so much as a well-brushed hat and shining boots. When abroad, it is easy to spot a compatriot as soon and as far as you can see one, by his graceless gait, a cross between a lounge and a shuffle. In reading-, or dining- room, he is the only man whose spine does not seem equal to its work, so he flops and straggles until, for the honor of your land, you long to shake him and set him squarely on his legs.

No amount of reasoning can convince me that outward slovenliness is not a sign of inward and moral supineness. A neglected exterior generally means a lax moral code. The man who considers it too much trouble to sit erect can hardly have given much time to his tub or his toilet. Having neglected his clothes, he will neglect his manners, and between morals and manners we know the tie is intimate.

In the Orient a new reign is often inaugurated by the construction of a mosque. Vast expense is incurred to make it as splendid as possible. But, once completed, it is never touched again. Others are built by succeeding sovereigns, but neither thought nor treasure is ever expended on the old ones. When they can no longer be used, they are abandoned, and fall into decay. The same system seems to prevail among our private owners and corporations. Streets are paved, lamp-posts erected, store- fronts carefully adorned, but from the hour the workman puts his finishing touch upon them they are abandoned to the hand of fate. The mud may cake up knee-deep, wind and weather work their own sweet will, it is no one's business to interfere.

When abroad one of my amusements has been of an early morning to watch Paris making its toilet. The streets are taking a bath, liveried attendants are blacking the boots of the lamp-posts and newspaper-_kiosques_, the shop-fronts are being shaved and having their hair curled, cafe's and restaurants are putting on clean shirts and tying their cravats smartly before their many mirrors. By the time the world is up and about, the whole city, smiling freshly from its matutinal tub, is ready to greet it gayly.

It is this attention to detail that gives to Continental cities their air of cheerfulness and thrift, and the utter lack of it that impresses foreigners so painfully on arriving at our shores.

It has been the fashion to laugh at the dude and his high collar, at the darky in his master's cast-off clothes, aping style and fashion. Better the dude, better the colored dandy, better even the Bowery "tough" with his affected carriage, for they at least are reaching blindly out after something better than their surroundings, striving after an ideal, and are in just so much the superiors of the foolish souls who mock them--better, even misguided efforts, than the ignoble stagnant quagmire of slouch into which we seem to be slowly descending.

No. 9--Social Suggestion

The question of how far we are unconsciously influenced by people and surroundings, in our likes and dislikes, our opinions, and even in our pleasures and intimate tastes, is a delicate and interesting one, for the line between success and failure in the world, as on the stage or in most of the professions, is so narrow and depends so often on what humor one's "public" happen to be in at a particular moment, that the subject is worthy of consideration.

Has it never happened to you, for instance, to dine with friends and go afterwards in a jolly humor to the play which proved so delightful that you insist on taking your family immediately to see it; when to your astonishment you discover that it is neither clever nor amusing, on the contrary rather dull. Your family look at you in amazement and wonder what you had seen to admire in such an asinine performance. There was a case of suggestion! You had been influenced by your friends and had shared their opinions. The same thing occurs on a higher scale when one is raised out of one's self by association with gifted and original people, a communion with more cultivated natures which causes you to discover and appreciate a thousand hidden beauties in literature, art or music that left to yourself, you would have failed to notice. Under these circumstances you will often be astonished at the point and piquancy of your own conversation. This is but too true of a number of subjects.

We fondly believe our opinions and convictions to be original, and with innocent conceit, imagine that we have formed them for ourselves. The illusion of being unlike other people is a common vanity. Beware of the man who asserts such a claim. He is sure to be a bore and will serve up to you, as his own, a muddle of ideas and opinions which he has absorbed like a sponge from his surroundings.

No place is more propitious for studying this curious phenomenon, than behind the scenes of a theatre, the last few nights before a first performance. The whole company is keyed up to a point of mutual admiration that they are far from feeling generally. "The piece is charming and sure to be a success." The author and the interpreters of his thoughts are in complete communion. The first night comes. The piece is a failure! Drop into the greenroom then and you will find an astonishing change has taken place. The Star will take you into a corner and assert that, she "always knew the thing could not go, it was too imbecile, with such a company, it was folly to expect anything else." The author will abuse the Star and the management. The whole troupe is frankly disconcerted, like people aroused out of a hypnotic sleep, wondering what they had seen in the play to admire.

In the social world we are even more inconsistent, accepting with tameness the most astonishing theories and opinions. Whole circles will go on assuring each other how clever Miss So-and-So is, or, how beautiful they think someone else. Not because these good people are any cleverer, or more attractive than their neighbors, but simply because it is in the air to have these opinions about them. To such an extent does this hold good, that certain persons are privileged to be vulgar and rude, to say impertinent things and make remarks that would ostracize a less fortunate individual from the polite world for ever; society will only smilingly shrug its shoulders and say: "It is only Mr. So-and-So's way." It is useless to assert that in cases like these, people are in possession of their normal senses. They are under influences of which they are perfectly unconscious.

Have you ever seen a piece guyed? Few sadder sights exist, the human being rarely getting nearer the brute than when engaged in this amusement. Nothing the actor or actress can do will satisfy the public. Men who under ordinary circumstances would be incapable of insulting a woman, will whistle and stamp and laugh, at an unfortunate girl who is doing her utmost to amuse them. A terrible example of this was given two winters ago at one of our concert halls, when a family of Western singers were subjected to absolute ill-treatment at the hands of the public. The young girls were perfectly sincere, in their rude way, but this did not prevent men from offering them every insult malice could devise, and making them a target for every missile at hand. So little does the public think for itself in cases like this, that at the opening of the performance had some well-known person given the signal for applause, the whole audience would, in all probability, have been delighted and made the wretched sisters a success.

In my youth it was the fashion to affect admiration for the Italian school of painting and especially for the great masters of the Renaissance. Whole families of perfectly inartistic English and Americans might then he heard conscientiously admiring the ceiling of the Sistine Chapel or Leonardo's Last Supper (Botticelli had not been invented then) in the choicest guide-book language.

When one considers the infinite knowledge of technique required to understand the difficulties overcome by the giants of the Renaissance and to appreciate the intrinsic qualities of their creations, one asks one's self in wonder what our parents admired in those paintings, and what tempted them to bring home and adorn their houses with such dreadful copies of their favorites. For if they appreciated the originals they never would have bought the copies, and if the copies pleased them, they must have been incapable of enjoying the originals. Yet all these people thought themselves perfectly sincere. To-day you will see the same thing going on before the paintings of Claude Monet and Besnard, the same admiration expressed by people who, you feel perfectly sure, do not realize why these works of art are superior and can no more explain to you why they think as they do than the sheep that follow each other through a hole in a wall, can give a reason for their actions.

Dress and fashion in clothes are subjects above all others, where the ineptitude of the human mind is most evident. Can it be explained in any other way, why the fashions of yesterday always appear so hideous to us,--almost grotesque? Take up an old album of photographs and glance over the faded contents. Was there ever anything so absurd? Look at the top hats men wore, and at the skirts of the women!

The mother of a family said to me the other day: "When I recall the way in which girls were dressed in my youth, I wonder how any of us ever got a husband."

Study a photograph of the Empress Eugenie, that supreme arbiter of elegance and grace. Oh! those bunchy hooped skirts! That awful India shawl pinned off the shoulders, and the bonnet perched on a roll of hair in the nape of the neck! What were people thinking of at that time? Were they lunatics to deform in this way the beautiful lines of the human body which it should be the first object of toilet to enhance, or were they only lacking in the artistic sense? Nothing of the kind. And what is more, they were convinced that the real secret of beauty in dress had been discovered by them; that past fashions were absurd, and that the future could not improve on their creations. The sculptors and painters of that day (men of as great talent as any now living), were enthusiastic in reproducing those monstrosities in marble or on canvas, and authors raved about the ideal grace with which a certain beauty draped her shawl.

Another marked manner in which we are influenced by circumambient suggestion, is in the transient furore certain games and pastimes create. We see intelligent people so given over to this influence as barely to allow themselves time to eat and sleep, begrudging the hours thus stolen from their favorite amusement.

Ten years ago, tennis occupied every moment of our young people's time; now golf has transplanted tennis in public favor, which does not prove, however, that the latter is the better game, but simply that compelled by the accumulated force of other people's opinions, youths and maidens, old duffers and mature spinsters are willing to pass many hours daily in all kinds of weather, solemnly following an indian-rubber ball across ten- acre lots.

If you suggest to people who are laboring under the illusion they are amusing themselves that the game, absorbing so much of their attention, is not as exciting as tennis nor as clever in combinations as croquet, that in fact it would be quite as amusing to roll an empty barrel several times around a plowed field, they laugh at you in derision and instantly put you down in their profound minds as a man who does not understand "sport."

Yet these very people were tennis-mad twenty years ago and had night come to interrupt a game of croquet would have ordered lanterns lighted in order to finish the match so enthralling were its intricacies.

Everybody has known how to play _Bezique_ in this country for years, yet within the last eighteen months, whole circles of our friends have been seized with a midsummer madness and willingly sat glued to a card-table through long hot afternoons and again after dinner until day dawned on their folly.

Certain _Memoires_ of Louis Fifteenth's reign tell of an "unravelling" mania that developed at his court. It began by some people fraying out old silks to obtain the gold and silver threads from worn-out stuffs; this occupation soon became the rage, nothing could restrain the delirium of destruction, great ladies tore priceless tapestries from their walls and brocades from their furniture, in order to unravel those materials and as the old stock did not suffice for the demand thousands were spent on new brocades and velvets, which were instantly destroyed, entertainments were given where unravelling was the only amusement offered, the entire court thinking and talking of nothing else for months.

What is the logical deduction to be drawn from all this? Simply that people do not see with their eyes or judge with their understandings; that an all-pervading hypnotism, an ambient suggestion, at times envelops us taking from people all free will, and replacing it with the taste and judgment of the moment.

The number of people is small in each generation, who are strong enough to rise above their surroundings and think for themselves. The rest are as dry leaves on a stream. They float along and turn gayly in the eddies, convinced all the time (as perhaps are the leaves) that they act entirely from their own volition and that their movements are having a profound influence on the direction and force of the current.

No. 10--Bohemia

Lunching with a talented English comedian and his wife the other day, the conversation turned on Bohemia, the evasive no-man's-land that Thackeray referred to, in so many of his books, and to which he looked back lovingly in his later years, when, as he said, he had forgotten the road to Prague.

The lady remarked: "People have been more than kind to us here in New York. We have dined and supped out constantly, and have met with gracious kindness, such as we can never forget. But so far we have not met a single painter, or author, or sculptor, or a man who has explored a corner of the earth. Neither have we had the good luck to find ourselves in the same room with Tesla or Rehan, Edison or Drew. We shall regret so much when back in England and are asked about your people of talent, being obliged to say, 'We never met any of them.' Why is it? We have not been in any one circle, and have pitched our tents in many cities, during our tours over here, but always with the same result. We read your American authors as much as, if not more than, our own. The names of dozens of your discoverers and painters are household words in England. When my husband planned his first tour over here my one idea was, 'How nice it will be! Now I shall meet those delightful people of whom I have heard so much.' The disappointment has been complete. Never one have I seen."

I could not but feel how all too true were the remarks of this intelligent visitor, remembering how quick the society of London is to welcome a new celebrity or original character, how a place is at once made for him at every hospitable board, a permanent one to which he is expected to return; and how no Continental entertainment is considered complete without some bright particular star to shine in the firmament.

"Lion-hunting," I hear my reader say with a sneer. That may be, but it makes society worth the candle, which it rarely is over here. I realized what I had often vaguely felt before, that the Bohemia the English lady was looking for was not to be found in this country, more's the pity. Not that the elements are lacking. Far from it, (for even more than in London should we be able to combine such a society), but perhaps from a misconception of the true idea of such a society, due probably to Henry Murger's dreary book _Scenes de la vie de Boheme_ which is chargeable with the fact that a circle of this kind evokes in the mind of most Americans visions of a scrubby, poorly-fed and less-washed community, a world they would hardly dare ask to their tables for fear of some embarrassing unconventionality of conduct or dress.

Yet that can hardly be the reason, for even in Murger or Paul de Kock, at their worst, the hero is still a gentleman, and even when he borrows a friend's coat, it is to go to a great house and among people of rank. Besides, we are becoming too cosmopolitan, and wander too constantly over this little globe, not to have learned that the Bohemia of 1830 is as completely a thing of the past as a _grisette_ or a glyphisodon. It disappeared with Gavarni and the authors who described it. Although we have kept the word, its meaning has gradually changed until it has come to mean something difficult to define, a will-o'-the-wisp, which one tries vainly to grasp. With each decade it has put on a new form and changed its centre, the one definite fact being that it combines the better elements of several social layers.

Drop in, if you are in Paris and know the way, at one of Madeleine Lemaire's informal evenings in her studio. There you may find the Prince de Ligne, chatting with Rejane or Coquelin; or Henri d'Orleans, just back from an expedition into Africa. A little further on, Saint-Saens will be running over the keys, preparing an accompaniment for one of Madame de Tredern's songs. The Princess Mathilde (that passionate lover of art) will surely be there, and--but it is needless to particularize.

Cross the Channel, and get yourself asked to one of Irving's choice suppers after the play. You will find the bar, the stage, and the pulpit represented there, a "happy family" over which the "Prince" often presides, smoking cigar after cigar, until the tardy London daylight appears to break up the entertainment.

For both are centres where the gifted and the travelled meet the great of the social world, on a footing of perfect equality, and where, if any prestige is accorded, it is that of brains. When you have seen these places and a dozen others like them, you will realize what the actor's wife had in her mind.

Now, let me whisper to you why I think such circles do not exist in this country. In the first place, we are still too provincial in this big city of ours. New York always reminds me of a definition I once heard of California fruit: "Very large, with no particular flavor." We are like a boy, who has had the misfortune to grow too quickly and look like a man, but whose mind has not kept pace with his body. What he knows is undigested and chaotic, while his appearance makes you expect more of him than he can give--hence disappointment.

Our society is yet in knickerbockers, and has retained all sorts of littlenesses and prejudices which older civilizations have long since relegated to the mental lumber room. An equivalent to this point of view you will find in England or France only in the smaller "cathedral" cities, and even there the old aristocrats have the courage of their opinions. Here, where everything is quite frankly on a money basis, and "positions" are made and lost like a fortune, by a turn of the market, those qualities which are purely mental, and on which it is hard to put a practical value, are naturally at a discount. We are quite ready to pay for the best. Witness our private galleries and the opera, but we say, like the parvenu in Emile Augier's delightful comedy _Le Gendre de M. Poirier_, "Patronize art? Of course! But the artists? Never!" And frankly, it would be too much, would it not, to expect a family only half a generation away from an iron foundry, or a mine, to be willing to receive Irving or Bernhardt on terms of perfect equality?

As it would be unjust to demand a mature mind in the overgrown boy, it is useless to hope for delicate tact and social feeling from the parvenu. To be gracious and at ease with all classes and professions, one must be perfectly sure of one's own position, and with us few feel this security, it being based on too frail a foundation, a crisis in the "street" going a long way towards destroying it.

Of course I am generalizing and doubt not that in many cultivated homes the right spirit exists, but unfortunately these are not the centres which give the tone to our "world." Lately at one of the most splendid houses in this city a young Italian tenor had been engaged to sing. When he had finished he stood alone, unnoticed, unspoken to for the rest of the evening. He had been paid to sing. "What more, in common sense, could he want?" thought the "world," without reflecting that it was probably not the _tenor_ who lost by that arrangement. It needs a delicate hand to hold the reins over the backs of such a fine-mouthed community as artists and singers form. They rarely give their best when singing or performing in a hostile atmosphere.

A few years ago when a fancy-dress ball was given at the Academy of Design, the original idea was to have it an artists' ball; the community of the brush were, however, approached with such a complete lack of tact that, with hardly an exception, they held aloof, and at the ball shone conspicuous by their absence.

At present in this city I know of but two hospitable firesides where you are sure to meet the best the city holds of either foreign or native talent. The one is presided over by the wife of a young composer, and the other, oddly enough, by two unmarried ladies. An invitation to a dinner or a supper at either of these houses is as eagerly sought after and as highly prized in the great world as it is by the Bohemians, though neither "salon" is open regularly.

There is still hope for us, and I already see signs of better things. Perhaps, when my English friend returns in a few years, we may be able to prove to her that we have found the road to Prague.

No. 11--Social Exiles

Balzac, in his _Comedie Humaine_, has reviewed with a master-hand almost every phase of the Social World of Paris down to 1850 and Thackeray left hardly a corner of London High Life unexplored; but so great have been the changes (progress, its admirers call it,) since then, that, could Balzac come back to his beloved Paris, he would feel like a foreigner there; and Thackeray, who was among us but yesterday, would have difficulty in finding his bearings in the sea of the London world to-day.

We have changed so radically that even a casual observer cannot help being struck by the difference. Among other most significant "phenomena" has appeared a phase of life that not only neither of these great men observed (for the very good reason that it had not appeared in their time), but which seems also to have escaped the notice of the writers of our own day, close observers as they are of any new development. I mean the class of Social Exiles, pitiable wanderers from home and country, who haunt the Continent, and are to be found (sad little colonies) in out-of- the-way corners of almost every civilized country.

To know much of this form of modern life, one must have been a wanderer, like myself, and have pitched his tent in many queer places; for they are shy game and not easily raised, frequenting mostly quiet old cities like Versailles and Florence, or inexpensive watering-places where their meagre incomes become affluence by contrast. The first thought on dropping in on such a settlement is, "How in the world did these people ever drift here?" It is simple enough and generally comes about in this way:

The father of a wealthy family dies. The fortune turns out to be less than was expected. The widow and children decide to go abroad for a year or so, during their period of mourning, partially for distraction, and partially (a fact which is not spoken of) because at home they would be forced to change their way of living to a simpler one, and that is hard to do, just at first. Later they think it will be quite easy. So the family emigrates, and after a little sight-seeing, settles in Dresden or Tours, casually at first, in a hotel. If there are young children they are made the excuse. "The languages are so important!" Or else one of the daughters develops a taste for music, or a son takes up the study of art. In a year or two, before a furnished apartment is taken, the idea of returning is discussed, but abandoned "for the present." They begin vaguely to realize how difficult it will be to take life up again at home. During all this time their income (like everything else when the owners are absent) has been slowly but surely disappearing, making the return each year more difficult. Finally, for economy, an unfurnished apartment is taken. They send home for bits of furniture and family belongings, and gradually drop into the great army of the expatriated.

Oh, the pathos of it! One who has not seen these poor stranded waifs in their self-imposed exile, with eyes turned towards their native land, cannot realize all the sadness and loneliness they endure, rarely adopting the country of their residence but becoming more firmly American as the years go by. The home papers and periodicals are taken, the American church attended, if there happens to be one; the English chapel, if there is not. Never a French church! In their hearts they think it almost irreverent to read the service in French. The acquaintance of a few fellow-exiles is made and that of a half-dozen English families, mothers and daughters and a younger son or two, whom the ferocious primogeniture custom has cast out of the homes of their childhood to economize on the Continent.

I have in my mind a little settlement of this kind at Versailles, which was a type. The formal old city, fallen from its grandeur, was a singularly appropriate setting to the little comedy. There the modest purses of the exiles found rents within their reach, the quarters vast and airy. The galleries and the park afforded a diversion, and then Paris, dear Paris, the American Mecca, was within reach. At the time I knew it, the colony was fairly prosperous, many of its members living in the two or three principal _pensions_, the others in apartments of their own. They gave feeble little entertainments among themselves, card-parties and teas, and dined about with each other at their respective _tables d'hote_, even knowing a stray Frenchman or two, whom the quest of a meal had tempted out of their native fastnesses as it does the wolves in a hard winter. Writing and receiving letters from America was one of the principal occupations, and an epistle descriptive of a particular event at home went the rounds, and was eagerly read and discussed.

The merits of the different _pensions_ also formed a subject of vital interest. The advantages and disadvantages of these rival establishments were, as a topic, never exhausted. _Madame une telle_ gave five o'clock tea, included in the seven francs a day, but her rival gave one more meat course at dinner and her coffee was certainly better, while a third undoubtedly had a nicer set of people. No one here at home can realize the importance these matters gradually assume in the eyes of the exiles. Their slender incomes have to be so carefully handled to meet the strain of even this simple way of living, if they are to show a surplus for a little trip to the seashore in the summer months, that an extra franc a day becomes a serious consideration.