Analyzing Character by Arthur Newcomb (best ebook reader under 100 txt) 📖

were, on the other hand, the deserved receptions of old favorites by old friends, as Miss Jewett, Miss Vernon, Miss Carey, Mr. DeBelleville, Mr. Parselle and Mr. Whiting came upon the scene.

"When Chevrial, finding himself alone with Tirandel and Laubaniere, exposed his amusingly cynical views of life and society, some attention was paid to a remarkable portrait of a polished, but coarse, gay, though aging, voluptuary. The scene was short and he was soon off, though not without a little impudent touch, in passing the maid in the doorway, that did not slip unnoticed. The dramatic disclosures which followed brought the act to a close with applause that augured well. Henri, Marcelle, and Mme. De Targy were called forward enthusiastically.

"The second act revealed the Baron's chambers. With the exception of two minutes, he was on the stage until the curtain fell. The Baron's effort, so precisely detailed, to reach and raise the dumb-bells from the floor; the inveterate libertine's interview with shrewd Rosa, the danseuse, who took the tips he expected would impoverish her and thus put her in his power, for the purpose of playing them the other way: the biting deliberation of his interview with his good Baroness and Henri, who comes to ruin himself to save his family's honor—all held the audience with a new sensation. As he pushed his palsied arms into his coat and pulled himself fairly off his feeble feet in his effort to button it, turned up to his door humming like a preying bumble-bee, faced slowly about again, his piercing little pink eyes darting with anticipation, and off the trembling old lips droned the telling speech: 'I wonder how his pretty little wife will bear poverty. H'm! We shall see'—the curtain fell to applause which was for the newcomer alone. He had interested the audience and was talked about between the acts.

"Mr. Palmer rushed back to his dressing-room and found him studiously adding new touches to his make-up for the next act. 'Young man,' exclaimed the manager, 'do you know you're making a hit?' 'That's what I'm paid for,' replied Mansfield, without lowering the rabbit's foot.

"The third act was largely Marcelle's. The Baron was on for an episodic interval, but succeeded, in that he did not destroy the impression already created.

"The fourth act revealed a magnificent banquet hall with a huge table laden with crystal, silver, snowy linens, flowers, and lights. At the top of a short stairway at the back was a gallery and an arched window through which one looked up the green aisle of the Champs-Elysee to the Arc de Triomphe, dimly visible in the moonlight. The Baron entered for one last glance over the preparations for his petit souper for Rosa and her sister of the ballet at the Opera.

"The effectiveness of his entrance was helped by his appearance behind a colonnade, and there he stood, only half revealed, swaying unsteadily while his palsied hand adjusted his monocle to survey the scene. There was a flutter of applause from the audience but, appreciatively, it quickly hushed itself. He dragged himself forward. The cosmetic could not hide the growing pallor of the parchment drawn over the old reprobate's skull. He crept around the table and, with a marvellous piece of 'business' by which he held his wobbly legs while he slowly swung a chair under him, collapsed. The picture was terrible, but fascinating. People who would, could not turn their heads. His valet was quick with water and held the glass in place on the salver while he directed it to the groping arm. The crystal clinked on Chevrial's teeth as he sucked the water.

"Presently he found his legs again and tottered up to the staircase. The picture of the black, shrivelled little man dragging his lifeless legs up to the gallery step by step was never forgotten by anyone who saw it. At the top he turned and said in ominous tones: 'I do not wish to be disturbed in the morning. I shall need a long sleep'; and dragged himself out of sight. He had been on the stage five minutes and had said scarcely fifty words. The picture and the effect were unmistakable. The audience capitulated. There was a roar of applause which lasted several minutes.

"The whispered discussion of this scene was such that scarcely any attention was paid to the stage until the Baron returned. Almost immediately afterward the ballet girls pirouetted into the hall in a flutter of gauze, and the places at the tables were filled. No one listened to the lines; all eyes in the house were focussed on the withered, shrunken, flaccid little old Baron, who sat at Rosa's right, ignored by everyone about him as they gorged on his food and drank his wines.

"Soon he drew himself up on his feet and, raising his glass, said: 'Here's to the god from whom our pleasures come. Here's to Plutus and a million!"

"The gay throng about the table echoed the toast: To Plutus and a million!' and Chevrial continued:

"'While I am up I will give a second toast: 'Here's to Rosa! The most splendid incarnation that I know!'

"Placing the glass to her lips for a first sip, the lecherous old pagan's own lips sought the spot, sipped, and he sank back into his chair.

"What else went on till he rose again no one knew or minded. No eye in the house could wander from the haggard, evil, smiling, but sinister, old face. Presently he was up once more and, with his raised goblet brimming with champagne, he offered a third toast:

"'Here's to material Nature, the prolific mother of all we know, see, or hear. Here's to the matter that sparkles in our glasses, and runs through our veins as a river of youth; here's to the matter that our eyes caress as they dwell on the bloom of those young cheeks. Here's to the matter that—here's to—here's—the matter—the matter that—here's—'

"The attack had seized him. Terrible and unforgetable was the picture of the dissolution. The lips twitched, the eyes rolled white, the raised hand trembled, the wine sputtered like the broken syllables which the shattered memory would not send and the swollen tongue suddenly could not utter. For one moment of writhing agony he held the trembling glass aloft; then his arm dropped with a swiftness that shattered the crystal. Instinctively he groped up to the stairs for light and air. He reeled as if every step would be his last. Rosa helped him up to the window, but recoiled from him with a shriek. Again his hand flew up, but there was neither glass, wine, nor words. He rolled helplessly and fell to the floor, dead. The curtain fell.

"It was probably the most realistically detailed figure of refined moral and physical depravity, searched to its inevitable end, the stage has ever seen. For a moment after the curtain fell there was a hush of awe and surprise. Then the audience found itself and called Mansfield to the footlights a dozen times. But neither then nor thereafter would he appear until he had removed the wig and make-up of the dead Baron. There was no occasion to change his clothes; he wore the conventional evening suit. The effect of shrivelled undersizedness was purely a muscular effect of the actor. The contrast between the figure that fell at the head of the stairs and the athletic young gentleman who acknowledged the applause was no anti-climax.

"Mansfield had come into his own. The superb art of his performance had dwarfed all about it; the play was killed, but he was from that moment a figure to be reckoned with in the history of the theatre."

It is said that when Paderewsky played before Queen Victoria, she said to him: "Mr. Paderewsky, you are a genius." "Ah, your Majesty," he replied, "perhaps. But before I was a genius, I was a drudge." And this is true. It is said that Paderewsky spent hours every day, even after achieving his fame, practising the scale, improving his technique, and keeping himself in prime condition.

Study the life and achievement of any great man of genius. His genius has consisted principally in his wonderful capacity to labor for perfection in the most minute detail. And yet most ambitious misfits are unwilling to work hard. Their products always show lack of finish due to slipshod methods, unwillingness to spend time, to take pains to bring what they do up to a standard of beautiful perfection, so far as perfection is humanly possible. Those who are mentally lazy do not belong in an artistic vocation. There are probably many things that they can do and do well in some less spectacular lines, some calling that does not require such mental effort.

MISFITS IN THE PROFESSIONS

In the traditional educational system the common school is not particularly adapted to prepare its pupils for life, but rather to prepare them for either a high school or a preparatory school. Passing on to the high school, the same condition prevails. The whole question in every high school and every preparatory school is whether the training will accredit one to certain colleges and universities. So the traditional high school graduate is not prepared for life; he is prepared for college or the university. He goes on to the university. There he finds that he is being prepared chiefly for four or five learned professions—the law, the ministry, medicine, engineering, and teaching. In the beginning, the university was supposed to train a man, not for work, but for leisure. The very word scholar means a man of leisure. People were trained, therefore, not for usefulness, but for show; not to earn their living in the world, but rather, their living having been provided for them by a thoughtful government or a kind-hearted parent, to present evidences of the fact. One of the chief of such evidences was the ability to go to a college or university and to take the time to learn a great deal of useless knowledge about dead languages, philosophies, and dry-as-dust sciences. While this is not true to so great an extent to-day, there is still much of the old tradition clinging about colleges and universities, and we are training men and women, not for commercial or industrial or agricultural lines, but rather, for the learned professions.

THE "WHITE COLLAR MAN"

In England and other European countries no man is held to be a gentleman who has ever earned his living by the work of his hands. No one is accredited with standing as an amateur athlete who has ever "lost caste" in this way. While this caste feeling is not so strong in America as it is abroad, it still has a considerable influence upon parents and their children in the selection of a vocation. While one does not lose caste by doing manual labor, temporarily or as a makeshift, he suffers socially, in certain circles, who chooses deliberately a vocation which requires him to wear soiled clothing, to carry a plebeian dinner-pail, and to work hard with his hands. Because of this, many bricklayers, carpenters, blacksmiths, shoemakers, plasterers, plumbers, and other workers, ambitious socially for their sons, instead of teaching them trades in which they might excel and in which there might be an unrestricted future for them, train them for clerical and office work. Having felt the social handicap themselves, these men and their wives determine that their children shall belong to the class which wears good clothes, has soft, white hands, and eats luncheon at a cafeteria—or from a paper parcel which can be respectably hidden in an inside coat pocket. And so there are armies of "white collar men" who would be healthier, wealthier, more useful, and happier if they wore overalls and jumpers.

The "typical" bank clerk is a good illustration. Pallid from long hours indoors, stooped from his concentration upon interminable columns of figures, dissatisfied,