"There came another pair of 'Singers and Dancers,' and then a 'Trick Cyclist,' but really I cannot stand trick cycling, now that plain cycling, glory be! has so nearly gone out. As soon as the cyclist began to make his wheel rear up on its hind leg and carry him round the stage in that posture, I went away. But I had had enough without counting him, though I left the kalatechnoscope, with its shivering and shimmering unseen. I had had my fill of pleasure, rich and pure, such as I could have got at no legitimate theatre in town, and I came away opulently content."
We reflected awhile before we remarked: "Then I don't see what you have to complain of or to write of. Where does the decline of the vaudeville come in?"
"Oh," the rejected contributor said, with a laugh, "I forgot that. It's still so good, when compared with the mechanical drama of the legitimate theatre, that I don't know whether I can make out a case against it now. But I think I can, both in quality and quantity. I think the change began insidiously to steal upon the variety show with the increasing predominance of short plays. Since they were short, I should not have minded them so much, but they were always so bad! Still, I could go out, when they came on, and return for the tramp magician, or the comic musician, who played upon joints of stovepipe and the legs of reception-chairs and the like, and scratched matches on his two days' beard, and smoked a plaintive air on a cigarette. But when the 'playlets' began following one another in unbroken succession, I did not know what to do. Almost before I was aware of their purpose three of the leading vaudeville houses threw off the mask, and gave plays that took up the whole afternoon; and though they professed to intersperse the acts with what they called 'big vaudeville,' I could not be deceived, and I simply stopped going. When I want to see a four-act play, I will go to the legitimate theatre, and see something that I can smell, too. The influence of the vaudeville has, on the whole, been so elevating and refining that its audiences cannot stand either the impurity or the imbecility of the fashionable drama. But now the vaudeville itself is beginning to decline in quality as well as quantity."
"Not toward immodesty?"
"No, not so much that. But the fine intellectual superiority of the continuous performance is beginning to suffer contamination from the plays where there are waits between the acts. I spoke just now of the tramp magician, but I see him no longer at the variety houses. The comic musician is of the rarest occurrence; during the whole season I have as yet heard no cornet solo on a revolver or a rolling-pin. The most dangerous acts of the trapeze have been withdrawn. The acrobats still abound, but it is three long years since I looked upon a coon act with real Afro-Americans in it, or saw a citizen of Cincinnati in a fur overcoat keeping a silk hat, an open umbrella, and a small wad of paper in the air with one hand. It is true that the conquest of the vaudeville houses by the full-fledged drama has revived the old-fashioned stock companies in many cases, and has so far worked for good, but it is a doubtful advantage when compared with the loss of the direct inspiration of the artists who created and performed their stunts."
"Delightful word!" we dreamily noted. "How did it originate?"
"Oh, I don't know. It's probably a perversion of stint, a task or part, which is also to be found in the dictionary as stent. What does it matter? There is the word, and there is the thing, and both are charming. I approve of the stunt because it is always the stuntist's own. He imagined it, he made it, and he loves it. He seems never to be tired of it, even when it is bad, and when nobody in the house lends him a hand with it. Of course, when it comes to that, it has to go, and he with it. It has to go when it is good, after it has had its day, though I don't see why it should go; for my part there are stunts I could see endlessly over again, and not weary of them. Can you say as much of any play?"
"Gilbert and Sullivan's operas," we suggested.
"That is true. But without the music? And even with the music, the public won't have them any longer. I would like to see the stunt fully developed. I should like to have that lovely wilding growth delicately nurtured into drama as limitless and lawless as life itself, owing no allegiance to plot, submitting to no rule or canon, but going gayly on to nothingness as human existence does, full of gleaming lights, and dark with inconsequent glooms, musical, merry, melancholy, mad, but never-ending as the race itself."
"You would like a good deal more than you are ever likely to get," we said; and here we thought it was time to bring our visitor to book again. "But about the decline of vaudeville?"
"Well, it isn't grovelling yet in the mire with popular fiction, but it is standing still, and whatever is standing still is going backward, or at least other things are passing it. To hold its own, the vaudeville must grab something more than its own. It must venture into regions yet unexplored. It must seize not only the fleeting moments, but the enduring moments of experience; it should be wise not only to the whims and moods, but the passions, the feelings, the natures of men; for it appeals to a public not sophisticated by mistaken ideals of art, but instantly responsive to representations of life. Nothing is lost upon the vaudeville audience, not the lightest touch, not the airiest shadow of meaning. Compared with the ordinary audience at the legitimate theatres—"
"Then what you wish," we concluded, "is to elevate the vaudeville."
The visitor got himself out of the Easy Chair, with something between a groan and a growl. "You mean to kill it."
V
INTIMATIONS OF ITALIAN OPERA
Whether pleasure of the first experience is more truly pleasure than that which comes rich in associations from pleasures of the past is a doubt that no hedonistic philosopher seems to have solved yet. We should, in fact, be sorry if any had, for in that case we should be without such small occasion as we now have to suggest it in the forefront of a paper which will not finally pass beyond the suggestion. When the reader has arrived at our last word we can safely promise him he will still have the misgiving we set out with, and will be confirmed in it by the reflection that no pleasure, either of the earliest or the latest experience, can be unmixed with pain. One will be fresher than the other; that is all; but it is not certain that the surprise will have less of disappointment in it than the unsurprise. In the one case, the case of youth, say, there will be the racial disappointment to count with, and in the other, the case of age, there will be the personal disappointment, which is probably a lighter thing. The racial disappointment is expressed in what used to be called, somewhat untranslatably, Weltschmerz. This was peculiarly the appanage of youth, being the anticipative melancholy, the pensive foreboding, distilled from the blighted hopes of former generations of youth. Mixed with the effervescent blood of the young heart, it acted like a subtle poison, and eventuated in more or less rhythmical deliriums, in cynical excesses of sentiment, in extravagances of behavior, in effects which commonly passed when the subject himself became ancestor, and transmitted his inherited burden of Weltschmerz to his posterity. The old are sometimes sad, on account of the sins and follies they have personally committed and know they will commit again, but for pure gloom—gloom positive, absolute, all but palpable—you must go to youth. That is not merely the time of disappointment, it is in itself disappointment; it is not what it expected to be; and it finds nothing which confronts it quite, if at all, responsive to the inward vision. The greatest, the loveliest things in the world lose their iridescence or dwindle before it. The old come to things measurably prepared to see them as they are, take them for what they are worth; but the young are the prey of impassioned prepossessions which can never be the true measures.
The disadvantage of an opening like this is that it holds the same quality, if not quantity, of disappointment as those other sublime things, and we earnestly entreat the reader to guard himself against expecting anything considerable from it. Probably the inexperienced reader has imagined from our weighty prologue something of signal importance to follow; but the reader who has been our reader through thick and thin for many years will have known from the first that we were not going to deal with anything more vital, say, than a few emotions and memories, prompted, one night of the other winter, by hearing one of the old-fashioned Italian operas which a more than commonly inspired management had been purveying to an over-Wagnered public. In fact, we had a sense that this sort of reader was there with us the night we saw "L'Elisir d'Amore," and that it was in his personality we felt and remembered many things which we could have fancied personal only to ourselves.
He began to take the affair out of our keeping from the first moment, when, after passing through the crowd arriving from the snowy street, we found our way through the distracted vestibule of the opera-house into the concentred auditorium and hushed ourselves in the presence of the glowing spectacle of the stage. "Ah, this is the real thing," he whispered, and he would not let us, at any moment when we could have done so without molesting our neighbors, censure the introduction of Alpine architecture in the entourage of an Italian village piazza. "It is a village at the foot of the Alps probably," he said, "and if not, no matter. It is as really the thing as all the rest: as the chorus of peasants and soldiers, of men and women who impartially accompany the orchestra in the differing sentiments of the occasion; as the rivals who vie with one another in recitative and aria; as the heroine who holds them both in a passion of suspense while she weaves the enchantment of her trills and runs about them; as the whole circumstance of the divinely impossible thing which defies nature and triumphs over prostrate probability. What does a little Swiss Gothic matter? The thing is always opera, and it is always Italy. I was thinking, as we crowded in there from the outside, with our lives in our hands, through all those trolleys and autos and carriages and cabs and sidewalk ticket-brokers, of the first time I saw this piece. It was in Venice, forty-odd years ago, and I arrived at the theatre in a gondola, slipping to the water-gate with a waft of the gondolier's oar that was both impulse and arrest, and I was helped up the sea-weedy, slippery steps by a beggar whom age and sorrow had bowed to just the right angle for supporting my hand on the shoulder he lent it. The blackness of the tide was pierced with the red plunge of a few lamps, and it gurgled and chuckled as my gondola lurched off and gave way to another; and when I got to my box—a box was two florins, but I could afford it—I looked down on just this scene, over a pit full of Austrian officers and soldiers, and round on a few Venetians darkling in the other boxes and half-heartedly enjoying the music. It was the most hopeless hour of the Austrian occupation, and the air was heavy with its oppression and tobacco, for the officers smoked between the acts. It was only the more intensely Italian for that; but it was not more Italian than this; and when I see those impossible people on the stage, and hear them sing, I breathe an atmosphere that is like the ether beyond the pull of our planet, and is as far from all its laws and limitations."
Our friend continued to talk pretty well through the whole interval between the first and second acts; and we were careful not to interrupt him, for from the literary quality of his diction we fancied him talking for publication, and we wished to take note of every turn of his phrase.
"It's astonishing," he said, "how little art needs in order to give the effect of life. A touch here and there is enough; but art is so conditioned that it has to work against time and space, and is obliged to fill up and round out its own body with much stuff that gives no sense of life. The realists," he went on, "were only half right."
"Isn't it better to be half right than wrong altogether?" we interposed.
"I'm not sure. What I wanted to express is that every now and then I find in very defective art of all kinds that mere look of the real thing which suffices. A few words of poetry glance from the prose body of verse and make us forget the prose. A moment of dramatic motive carries hours of heavy comic or tragic performance. Is any piece of sculpture or painting altogether good? Or isn't the spectator held in the same glamour which involved the artist before he began the work, and which it is his supreme achievement to impart, so that it shall hide all defects? When I read what you wrote the other month, or the other year, about the vaudeville shows—?
"Hush!" we entreated. "Don't bring those low associations into this high presence."
"Why not? It is all the same thing. There is no inequality in the region of art; and I have seen things on the vaudeville stage which were graced with touches of truth so exquisite, so ideally fine, that I might have believed I was getting them at first hand and pure from the street-corner. Of course, the poor fellows who had caught them from life had done their worst to imprison them in false terms, to labor them out of shape, and build them up in acts where anything less precious would have been lost; but they survived all that and gladdened the soul. I realized that I should have been making a mistake if I had required any 'stunt' which embodied them to be altogether composed of touches of truth, of moments of life. We can stand only a very little radium; the captured sunshine burns with the fires that heat the summers of the farthest planets; and we cannot handle the miraculous substance as if it were mere mineral. A touch of truth is perhaps not only all we need, but all we can endure in any one example of art."
"You are lucky if you get so much," we said, "even at a vaudeville show."
"Or at an opera," he returned, and then the curtain rose on the second act. When it fell again, he resumed, as if he had been interrupted in the middle of a sentence. "What should you say was the supreme moment of this thing, or was the radioactive property, the very soul? Of course, it is there where Nemorino drinks the elixir and finds himself freed from Adina; when he bursts into the joyous song of liberation and gives that delightful caper
'Which signifies indifference, indifference,
Which signifies indifference,'
and which not uncommonly results from a philter composed entirely of claret. When Adina advances in the midst of his indifference and breaks into the lyrical lament
'Neppur mi guarda!'
she expresses the mystery of the sex which can be best provoked to love by the sense of loss, and the vital spark of the opera is kindled. The rest is mere incorporative material. It has to be. In other conditions the soul may be disembodied, and we may have knowledge of it without the interposition of anything material; but if there are spiritual bodies as there are material bodies, still the soul may wrap itself from other souls and emit itself only in gleams. But putting all that aside, I should like to bet that the germ, the vital spark of the opera, felt itself life, felt itself flame, first of all in that exquisite moment of release which Nemorino's caper conveys. Till then it must have been rather blind groping, with nothing better in hand than that old, worn-out notion of a love-philter. What will you bet?"
"We never bet," we virtuously replied. "We are principled against it in all cases where we feel sure of losing; though in this case we could never settle it, for both composer and librettist are dead."
"Yes, isn't it sad that spirits so gay should be gone from a world that needs gayety so much? That is probably the worst of death; it is so indiscriminate," the reader thoughtfully observed.
"But aren't you," we asked, "getting rather far away from the question whether the pleasure of experience isn't greater than the pleasure of inexperience—whether later operas don't give more joy than the first?"
"Was that the question?" he returned. "I thought it was whether Italian opera was not as much at home in exile as in its native land."
"Well, make it that," we responded, tolerantly.
"Oh no," he met us half-way. "But it naturalizes itself everywhere. They have it in St. Petersburg and in Irkutsk, for all I know, and certainly in Calcutta and Australia, the same as in Milan and Venice and Naples, or as here in New York, where everything is so much at home, or so little. It's the most universal form of art."
"Is it? Why more so than sculpture or painting or architecture?"
Our demand gave the reader pause. Then he said: "I think it is more immediately universal than the other forms of art. These all want time to denationalize themselves. It is their nationality which first authorizes them to be; but it takes decades, centuries sometimes, for them to begin their universal life. It seems different with operas. 'Cavalleria Rusticana' was as much at home with us in its first year as 'L'Elisir d'Amore' is now in its sixtieth or seventieth."
"But it isn't," we protested, "denationalized. What can be more intensely Italian than an Italian opera is anywhere?"
"You're right," the reader owned, as the reader always must, if honest, in dealing with the writer. "It is the operatic audience, not the opera, which is denationalized when the opera becomes universal. We are all Italians here to-night. I only wish we were in our native land, listening to this musical peal of ghostly laughter from the past."
The reader was silent a moment while the vast house buzzed and murmured and babbled from floor to roof. Perhaps the general note of the conversation, if it could have been tested, would have been found voluntary rather than spontaneous; but the sound was gay, and there could be no question of the splendor of the sight. We may decry our own almost as much as we please, but there is a point where we must cease to depreciate ourselves; even for the sake of evincing our superiority to our possessions, we must not undervalue some of them. One of these is the Metropolitan Opera House, where the pride of wealth, the vanity of fashion, the beauty of youth, and the taste and love of music fill its mighty cup to the brim in the proportions that they bear to one another in the community. Wherever else we fail of our ideal, there we surely realize it on terms peculiarly our own. Subjectively the scene is intensely responsive to the New York spirit, and objectively it is most expressive of the American character in that certain surface effect of thin brilliancy which remains with the spectator the most memorable expression of its physiognomy.
No doubt something like this was in the reader's mind when he resumed, with a sigh: "It's rather pathetic how much more magnificently Italian opera has always been circumstanced in exile than at home. It had to emigrate in order to better its fortunes; it could soon be better seen if not heard outside of Italy than in its native country. It was only where it could be purely conventional as well as ideal that it could achieve its greatest triumphs. It had to make a hard fight for its primacy among the amusements that flatter the pride as well as charm the sense. You remember how the correspondents of Mr. Spectator wrote to him in scorn of the affected taste of 'the town' when the town in London first began to forsake the theatre and to go to the opera?"
"Yes, they were very severe on the town for pretending to a pleasure imparted in a language it could not understand a word of. They had all the reason on their side, and they needed it; but the opera is independent of reason, and the town felt that for its own part it could dispense with reason, too. The town can always do that. It would not go seriously or constantly to English opera, though ever so much invited to do so, for all the reasons, especially the patriotic reasons. Isn't it strange, by-the-way, how English opera is a fashion, while Italian opera remains a passion? We had it at its best, didn't we, in the Gilbert and Sullivan operas, which were the most charming things in the world; but they charmed only for a while, and it may be doubted whether they ever greatly charmed the town. The manager of the Metropolitan replaces German with Italian opera, and finds his account in it, but could he find his account in it if he put on 'The Mikado' instead of 'L'Elisir d'Amore'? If he did so, the town would not be here. Why?"
The reader did not try to answer at once. He seemed to be thinking, but perhaps he was not; other readers may judge from his reply, which, when it came, was this: "There seems to be something eternally as well as universally pleasing in Italian opera; but what the thing is, or how much of a thing it is, I wouldn't undertake to say. Possibly the fault of English opera is its actuality. It seizes upon a contemporaneous mood or fad, and satirizes it; but the Italian opera at its lightest deals with a principle of human nature, and it is never satirical; it needn't be, for it is as independent of the morals as of the reasons. It isn't obliged, by the terms of its existence, to teach, any more than it is obliged to convince. It's the most absolute thing in the world; and from its unnatural height it can stoop at will in moments of enrapturing naturalness without ever losing poise. Wasn't that delightful where Caruso hesitated about his encore, and then, with a shrug and a waft of his left hand to the house, went off in order to come back and give his aria with more effect? That was a touch of naturalness not in the scheme of the opera."
"Yes, but it was more racial, more personal, than natural. It was delicious, but we are not sure we approved of it."
"Ah, in Italian opera you're not asked to approve; you're only desired to enjoy!"
"Well, then that bit of racial personality was of the effect of actuality, and it jarred."
"Perhaps you're right," the reader sighed, but he added: "It was charming; yes, it made itself part of the piece. Nemorino would have done just as Caruso did."
At the last fall of the curtain the reader and the writer rose in unison, a drop of that full tide of life which ebbed by many channels out of the vast auditorium, and in two or three minutes left it dry. They stayed in their duplex personality to glance at the silken evanescences from the boxes, and then, being in the mood for the best society, they joined the shining presences in the vestibule where these waited for their carriages and automobiles. Of this company the interlocutors felt themselves so inseparably part that they could with difficulty externate themselves so far as to observe that it was of the quality of "the town" which had gone to Italian opera from the first.
In Mr. Spectator's time the town would have been lighted by the smoky torches of linkboys to its chairs; now it was called to its electric autos in the blaze of a hundred incandescent bulbs; but the difference was not enough to break the tradition. There was something in the aspect of that patrician throng, as it waited the turn of each, which struck the reader and writer jointly as a novel effect from any American crowd, but which the writer scarcely dares intimate to the general reader, for the general reader is much more than generally a woman, and she may not like it. Perhaps we can keep it from offending by supposing that the fact can be true only of the most elect socially, but in any case the fact seemed to be that the men were handsomer than the women. They were not only handsomer, but they were sweller (if we may use a comparative hitherto unachieved) in look, and even in dress.
How this could have happened in a civilization so peculiarly devoted as ours to the evolution of female beauty and style is a question which must be referred to scientific inquiry. It does not affect the vast average of woman's loveliness and taste among us in ranks below the very highest; this remains unquestioned and unquestionable; and perhaps, in the given instance, it was an appearance and not a fact, or perhaps the joint spectator was deceived as to the supreme social value of those rapidly dwindling and dissolving groups.
The reader and the writer were some time in finding their true level, when they issued into the common life of the street, and they walked home as much like driving home as they could. On the way the reader, who was so remotely lost in thought that the writer could scarcely find him, made himself heard in a musing suspiration: "There was something missing. Can you think what it was?"
"Yes, certainly; there was no ballet."
"Ah, to be sure: no ballet! And there used always to be a ballet! You remember," the reader said, "how beatific it always was to have the minor coryphees subside in nebulous ranks on either side of the stage, and have the great planetary splendor of the prima ballerina come swiftly floating down the centre to the very footlights, beaming right and left? Ah, there's nothing in life now like that radiant moment! But even that was eclipsed when she rose on tiptoe and stubbed it down the scene on the points of her slippers, with the soles of her feet showing vertical in the act. Why couldn't we have had that to-night? Yes, we have been cruelly wronged."
"But you don't give the true measure of our injury. You forget that supreme instant when the master-spirit of the ballet comes skipping suddenly forward, and leaping into the air with calves that exchange a shimmer of kisses, and catches the prima ballerina at the waist, and tosses her aloft, and when she comes down supports her as she bends this way and that way, and all at once stiffens for her bow to the house. Think of our having been defrauded of that!"
"Yes, we have been wickedly defrauded." The reader was silent for a while, and then he said: "I wonder if anybody except the choreographic composer ever knew what the story of any ballet was? Were you ever able to follow it?"
"Certainly not. It is bad enough following the opera. All that one wishes to do in one case is to look, just as in the other case all one wishes to do is to listen. We would as lief try to think out the full meaning of a Browning poem in the pleasure it gave us, as to mix our joy in the opera or the ballet with any severe question of their purport."
VI
THE SUPERIORITY OF OUR INFERIORS
The satirical reader introduced himself with a gleam in his eye which kindled apprehension in the unreal editor's breast, and perhaps roused in him a certain guilty self-consciousness.
"I didn't know," the reader said, "that you were such a well-appointed arbiter elegantiarum."
"Meaning our little discourse last month on the proper form of addressing letters?" the editor boldly grappled with the insinuation. "Oh yes; etiquette is part of our function. We merely hadn't got round to the matter before. You liked our remarks?"
"Very much," our visitor said, with the fine irony characteristic of him. "All the more because I hadn't expected that sort of thing of you. What I have expected of you hitherto was something more of the major morality."
"But the large-sized morals did not enter into that scheme. We deal at times with the minor morality, too, if the occasion demands, as we have suggested. You should not have been surprised to find politeness, as well as righteousness, advocated or applauded here. Naturally, of course, we prefer the larger-sized morals as questions for discussion. Had you one of the larger-sized questions of morality to present?"
"I was thinking it was a larger-sized question of manners."
"For example."
"The experience of one of those transatlantic celebrities who seem to be rather multiplying upon us of late, and who come here with a proclamation of their worship of American women ready to present, as if in print, to the swarming interviewers on the pier, and who then proceed to find fault with our civilization on every other point, almost before they drive up to their hotels."
"But isn't that rather an old story?"
"I suppose it is rather old, but it always interests us; we are never free from that longing for a flattered appearance in the eyes of others which we so seldom achieve. This last, or next to last, celebrity—in the early winter it is impossible to fix their swift succession—seems to have suffered amaze at the rude behavior of some dairymaids in the milk-room of the lady who was showing the celebrity over her premises. I didn't understand the situation very clearly. The lady must have been a lady farmer, in order to have a milk-room with dairymaids in it; but in any case the fact is that when the lady entered with the celebrity the maids remained seated, where they were grouped together, instead of rising and standing in the presence of their superiors, as they would have done in the hemisphere that the celebrity came from."
"Well, what came of it?"
"Oh, nothing. It was explained to the celebrity that the maids did not rise because they felt themselves as good as their mistress and her guest, and saw no reason for showing them a servile deference: that this was the American ideal."
"In the minds of those Swedish, Irish, English, Polish, German, or Bohemian dairymaids," we murmured, dreamily, and when our reader roused us from our muse with a sharp "What?" we explained, "Of course they were not American dairymaids, for it stands to reason that if they were dairymaids they could not be Americans, or if Americans they could not be dairymaids."
"True," our friend assented, "but all the same you admit that they were behaving from an American ideal?"
"Yes."
"Well, that ideal is what the celebrity objects to. The celebrity doesn't like it—on very high grounds."
"The grounds of social inequality, the inferiority of those who work to those who pay, and the right of the superiors to the respect of the inferiors?"
"No, the politeness due from one class to another."
"Such as lives between classes in Europe, we suppose. Well, that is very interesting. Is it of record that the lady and her guest, on going into the milk-room where the dairymaids remained rudely seated, bowed or nodded to them or said, 'Good-day, young ladies'?"
"No, that is not of record."
"Their human quality, their human equality, being altogether out of the question, was probably in no wise recognized. Why, then, should they have recognized the human quality of their visitors?" Our satirical reader was silent, and we went on. "There is something very droll in all that. We suppose you have often been vexed, or even outraged, by the ingratitude of the waiter whom you had given a handsome tip, over and above the extortionate charge of the house, and who gathered up your quarter or half-dollar and slipped it into his pocket without a word, or even an inarticulate murmur, of thanks?"
"Often. Outraged is no word for it."
"Yes," we assented, feeling our way delicately. "Has it ever happened that in the exceptional case where the waiter has said, 'Thank you very much,' or the like, you have responded with a cordial, 'You're welcome,' or, 'Not at all'?"
"Certainly not."
"Why not?"
"Because—because—those are terms of politeness between—"
Our friend hesitated, and we interrogatively supplied the word, "Equals? There are always difficulties between unequals. But try this, some day, and see what a real gratitude you will get from the waiter. It isn't infallible, but the chances are he will feel that you have treated him like a man, and will do or say something to show his feeling: he will give a twitch to your under-coat when he has helped you on with your top-coat, which will almost pull you over. We have even tried saying 'You are welcome' to a beggar. It's astonishing how they like it. By-the-way, have you the habit of looking at your waiter when he comes to take your order; or do you let him stand facing you, without giving him a glance above the lower button of his poor, greasy waistcoat?"
"No, the theory is that he is part of the mechanism of the establishment."
"That is the theory. But it has its inconveniences. We ourselves used to act upon it, but often, when we found him long in bringing our order, we were at a loss which waiter to ask whether it would be ready some time during the evening; and occasionally we have blown up the wrong waiter, who did not fail to bring us to shame for our error."
"They do look so confoundedly alike," our visitor said, thoughtfully.
"We others look confoundedly alike to them, no doubt. If they studied us as little as we study them, if they ignored us as contemptuously as we do them, upon the theory that we, too, are part of the mechanism, the next man would be as likely as we to get our dinner."
"They are paid to study us," our visitor urged.
"Ah, paid! The intercourse of unequals is a commercial transaction, but when the inferiors propose to make it purely so the superiors object: they want something to boot, something thrown in, some show of respect, some appearance of gratitude. Perhaps those dairymaids did not consider that they were paid to stand up when their employer and the visiting celebrity came into the milk-room, and so, unless they were civilly recognized—we don't say they weren't in this case—they thought they would do some of the ignoring, too. It is surprising how much the superiors think they ought to get for their money from the inferiors in that commercial transaction. For instance, they think they buy the right to call their inferiors by their first names, but they don't think they sell a similar right with regard to themselves. They call them Mary and John, but they would be surprised and hurt if the butler and waitress addressed them as Mary and John. Yet there is no reason for their surprise. Do you remember in that entrancing and edifying comedy of 'Arms and the Man'—Mr. Bernard Shaw's very best, as we think—the wild Bulgarian maid calls the daughter of the house by her Christian name? 'But you mustn't do that,' the mother of the house instructs her. 'Why not?' the girl demands. 'She calls me Louka.'"
"Capital!" our friend agreed. "But, of course, Shaw doesn't mean it."
"You never can tell whether he means a thing or not. We think he meant in this case, as Ibsen means in all cases, that you shall look where you stand."
Our satirist seemed to have lost something of his gayety. "Aren't you taking the matter a little too seriously?"
"Perhaps. But we thought you wanted us to be more serious than we were about addressing letters properly. This is the larger-sized morality, the real No. 11 sort, and you don't like it, though you said you expected it of us."
"Oh, but I do like it, though just at present I hadn't expected it. But if you're in earnest you must admit that the lower classes with us are abominably rude. Now, I have the fancy—perhaps from living on the Continent a good deal in early life, where I formed the habit—of saying good-morning to the maid or the butler when I come down. But they never seem to like it, and I can't get a good-morning back unless I dig it out of them. I don't want them to treat me as a superior; I only ask to be treated as an equal."
"We have heard something like that before, but we doubt it. What you really want is to have your condescension recognized; they feel that, if they don't know it. Besides, their manners have been formed by people who don't ask good-morning from them; they are so used to being treated as if they were not there that they cannot realize they are there. We have heard city people complain of the wane of civility among country people when they went to them in the summer to get the good of their country air. They say that the natives no longer salute them in meeting, but we never heard that this happened when they first saluted the natives. Try passing the time of day with the next farmer you meet on a load of wood, and you will find that the old-fashioned civility is still to be had for the asking. But it won't be offered without the asking; the American who thinks from your dress and address that you don't regard him as an equal will not treat you as one at the risk of a snub; and he is right. As for domestics—or servants, as we insolently call them—their manners are formed on their masters', and are often very bad. But they are not always bad. We, too, have had that fancy of yours for saying good-morning when we come down; it doesn't always work, but it oftener works than not. A friend of ours has tried some such civility at others' houses: at his host's house when the door was opened to him, arriving for dinner, and he was gloomily offered a tiny envelope with the name of the lady he was to take out. At first it surprised, but when it was imagined to be well meant it was apparently liked; in extreme cases it led to note of the weather; the second or third time at the same house it established something that would have passed, with the hopeful spectator, for a human relation. Of course, you can't carry this sort of thing too far. You can be kind, but you must not give the notion that you do not know your place."
"Ah! You draw the line," our friend exulted. "I thought so. But where?"
"At the point where you might have the impression that you respected butlers, when you merely loved your fellow-men. You see the difference?"
"But isn't loving your fellow-men enough? Why should you respect butlers?"
"To be sure. But come to think of it, why shouldn't you? What is it in domestic employ that degrades, that makes us stigmatize it as 'service'? As soon as you get out-of-doors the case changes. You must often have seen ladies fearfully snubbed by their coachmen; and as for chauffeurs, who may kill you or somebody else at any moment, the mental attitude of the average automobilaire toward them must be one of abject deference. But there have been some really heroic, some almost seraphic, efforts to readjust the terms of a relation that seems to have something essentially odious in it. In the old times, the times of the simple life now passed forever, when the daughter of one family 'lived out' in another, she ate with the family and shared alike with them. She was their help, but she became their hindrance when she insisted upon the primitive custom after 'waiting at table' had passed the stage when the dishes were all set down, and the commensals 'did their own stretching.' Heroes and seraphs did their utmost to sweeten and soften the situation, but the unkind tendency could not be stayed. The daughter of the neighbor who 'lived out' became 'the hired girl,' and then she became the waitress, especially when she was of neighbors beyond seas; and then the game was up. Those who thought humanely of the predicament and wished to live humanely in it tried one thing and tried another. That great soul of H.D.L., one of the noblest and wisest of our economic reformers, now gone to the account which any might envy him, had a usage which he practised with all guests who came to his table. Before they sat down he or his wife said, looking at the maid who was to serve the dinner, 'This is our friend, Miss Murphy'; and then the guests were obliged in some sort to join the host and hostess in recognizing the human quality of the attendant. It was going rather far, but we never heard that any harm came of it. Some thought it rather odd, but most people thought it rather nice."
"And you advocate the general adoption of such a custom?" our friend asked, getting back to the sarcasm of his opening note. "Suppose a larger dinner, a fashionable dinner, with half a dozen men waiters? That sort of thing might do at the table of a reformer, which only the more advanced were invited to; but it wouldn't work with the average retarded society woman or clubman."
"What good thing works with them?" we retorted, spiritedly. "But no, the custom would not be readily adopted even among enlightened thinkers. We do not insist upon it; the men and the maids might object; they might not like knowing the kind of people who are sometimes asked to quite good houses. To be sure, they are not obliged to recognize them out of the house."
"But what," our friend asked, "has all this got to do with the question of 'the decent respect' due from domestics, as you prefer to call them, to their employers?"
"As in that case of the dairymaids which we began with? But why was any show of respect due from them? Was it nominated in the bond that for their four or five dollars a week they were to stand up when their 'mistress' and her 'company' entered the room? Why, in fine, should any human being respect another, seeing what human beings generally are? We may love one another, but respect! No, those maids might, and probably did, love their mistress; but they felt that they could show their love as well sitting down as standing up. They would not stand up to show their love for one another."
"Then you think there is some love lost between the master and man or mistress and maid nowadays," our beaten antagonist feebly sneered.
"The masters and mistresses may not, but the men and maids may, have whole treasures of affection ready to lavish at the first sign of a desire for it; they do not say so, for they are not very articulate. In the mean time the masters and mistresses want more than they have paid for. They want honor as well as obedience, respect as well as love, the sort of thing that money used to buy when it was worth more than it is now. Well, they won't get it. They will get it less and less as time goes on. Whatever the good new times may bring, they won't bring back the hypocritical servility of the good old times. They—"
We looked round for our visiting reader, but he had faded back into the millions of readers whom we are always addressing in print.
VII
UNIMPORTANCE OF WOMEN IN REPUBLICS
A visitor of the Easy Chair who seemed to have no conception of his frequency, and who was able to supply from his imagination the welcome which his host did not always hurry to offer him, found a place for himself on the window-sill among the mistaken MSS. sent in the delusion that the editor of the Chair was the editor of the magazine.
"I have got a subject for you," he said.
"Have you ever heard," we retorted, "of carrying coals to Newcastle? What made you think we wanted a subject?"
"Merely that perfunctory air of so many of your disquisitions. I should think you would feel the want yourself. Your readers all feel it for you."
"Well, we can tell you," we said, "that there could be no greater mistake. We are turning away subjects from these premises every day. They come here, hat in hand, from morning till night, asking to be treated; and after dark they form a Topic Line at our door, begging for the merest pittance of a notice, for the slightest allusion, for the most cursory mention. Do you know that there are at least two hundred thousand subjects in this town out of a job now? If you have got a subject, you had better take it to the country press; the New York magazines and reviews are overstocked with them; the newspapers, morning and evening, are simply inundated with subjects; subjects are turned down every Sunday in the pulpits; they cannot get standing-room in the theatres. Why, we have just this moment dismissed a subject of the first interest. Have you heard how at a late suffrage meeting one lady friend of votes for women declared herself an admirer of monarchies because they always gave women more recognition, more honor, than republics?"
"No, I haven't," our visitor said.
"Well, it happened," we affirmed. "But every nook and cranny of our brain was so full of subjects that we simply could not give this a moment's consideration, and we see that all the other editors in New York were obliged to turn the cold shoulder to it, though they must have felt, as we did, that it was of prime importance."
From a position of lounging ease our visitor sat up, and began to nurse one of his knees between his clasped hands. "But if," he asked, "you had been able to consider the subject, what should you have said?"
"There are a great many ways of considering a subject like that," we replied. "We might have taken the serious attitude, and inquired how far the female mind, through the increasing number of Anglo-American marriages in our international high life, has become honeycombed with monarchism. We might have held that the inevitable effect of such marriages was to undermine the republican ideal at the very source of the commonwealth's existence, and by corrupting the heart of American motherhood must have weakened the fibre of our future citizenship to the point of supinely accepting any usurpation that promised ranks and titles and the splendor of court life."
"Wouldn't you have been rather mixing your metaphors?" our visitor asked, with an air of having followed us over a difficult country.
"In a cause like that, no patriotic publicist would have minded mixing his metaphors. He would have felt that the great thing was to keep his motives pure; and in treating such a subject our motives would have remained the purest, whatever became of our metaphors. At the same time this would not have prevented our doing justice to the position taken by that friend of votes for women. We should have frankly acknowledged that there was a great deal to be said for it, and that republics had hitherto been remiss in not officially acknowledging the social primacy of woman, but, in fact, distinctly inviting her to a back seat in public affairs. We should then have appealed to our thoughtful readers to give the matter their most earnest attention, and with the conservatism of all serious inquirers we should have urged them to beware of bestowing the suffrage on a class of the community disposed so boldly to own its love of the splendors of the state. Would it be sage, would it be safe, to indulge with democratic equality a sex which already had its eyes on the flattering inequality of monarchy? Perhaps at this point we should digress a little and mention Montesquieu, whose delightful Spirit of Laws we have lately been reading. We should remind the reader, who would like to think he had read him too, how Montesquieu distinguishes between the principles on which the three sorts of government are founded: civic virtue being the base of a republic, honor the ruling motive in the subjects of a monarchy, and fear the dominant passion in the slaves of a despotism. Then we should ask whether men were prepared to intrust the reins of government to women when they had received this timely intimation that women were more eager to arrive splendidly than to bring the car of state in safety to the goal. How long would it be, we should poignantly demand, before in passing from the love of civic virtue to the ambition of honor, we should sink in the dread of power?"
Our visitor was apparently not so deeply impressed by the treatment of the subject here outlined as we had been intending and expecting he should be. He asked, after a moment, "Don't you think that would be rather a heavy-handed way of dealing with the matter?"
"Oh," we returned, "we have light methods of treating the weightiest questions. There is the semi-ironical vein, for instance, which you must have noticed a good deal in us, and perhaps it would be better suited to the occasion."
"Yes?" our visitor suggested.
"Yes," we repeated. "In that vein we should question at the start whether any such praise of monarchy had been spoken, and then we should suppose it had, and begin playfully to consider what the honors and distinctions were that women had enjoyed under monarchy. We should make a merit at the start of throwing up the sponge for republics. We should own they had never done the statesmanlike qualities of women justice. We should glance, but always a little mockingly, at the position of woman in the Greek republics, and contrast, greatly to the republican disadvantage, her place in the democracy of Athens with that she held in the monarchy of Sparta. We should touch upon the fact that the Athenian women were not only not in politics, but were not even in society, except a class which could be only fugitively mentioned, and we should freely admit that the Spartan women were the heroic inspiration of the men in all the virtues of patriotism at home as well as in the field. We should recognize the sort of middle station women held in the Roman republic, where they were not shut up in the almost Oriental seclusion of Athenian wives, nor invited to a share in competitive athletics like the Spartan daughters. We should note that if a Spartan mother had the habit of bidding her son return with his shield or on it, a Roman mother expressed a finer sense of her importance in the state when she intimated that it was enough for her to be the parent of the Gracchi. But we should not insist upon our point, which, after all, would not prove that the decorative quality of women in public life was recognized in Rome as it always has been in monarchies, and we should recur to the fact that this was the point which had been made against all republics. Coming down to the Italian republics, we should have to own that Venice, with her ducal figurehead, had practically a court at which women shone as they do in monarchies; while in Florence, till the Medici established themselves in sovereign rule, women played scarcely a greater part than in Athens. It was only with the Medici that we began to hear of such distinguished ladies as Bianca Cappello; and in the long, commonplace annals of the Swiss commonwealth we should be able to recall no female name that lent lustre to any epoch. We should contrast this poverty with the riches of the French monarchy, adorned with the memories of Agnes Sorel, of Diane de Poitiers, of Madame de Montespan, of Madame de Pompadour, following one another in brilliant succession, and sharing not only the glory but the authority of the line of princes whose affections they ruled. Of course, we should have to use an ironical gravity in concealing their real quality and the character of the courts where they flourished; and in comparing the womanless obscurity of the English Commonwealth with the feminine effulgence of the Restoration, we should seek a greater effect in our true aim by concealing the name and nature of the ladies who illustrated the court of Charles II."
"And what would your true aim be?" our visitor pressed, with an unseemly eagerness which we chose to snub by ignoring it.
"As for the position of women in despotisms," we continued, "we should confess that it seemed to be as ignobly subordinate as that of women in republics. They were scarcely more conspicuous than the Citizenesses who succeeded in the twilight of the One and Indivisible the marquises and comtesses and duchesses of the Ancien Régime, unless they happened, as they sometimes did, to be the head of the state. Without going back to the semi-mythical Semiramis, we should glance at the characters of Cleopatra and certain Byzantine usurpresses, and with a look askance at the two empresses of Russia, should arrive at her late imperial majesty of China. The poor, bad Isabella of Spain would concern us no more than the great, good Victoria of England, for they were the heads of monarchies and not of despotisms; but we should subtly insinuate that the reigns of female sovereigns were nowhere adorned by ladies of the distinction so common as hardly to be distinction in the annals of kings and emperors. What famous beauty embellished the court of Elizabeth or either Mary? Even Anne's Mrs. Masham was not a shining personality, and her Sarah of Marlborough was only a brilliant shrew.
"At this point we should digress a little, but we should pursue our inquiry in the same satirical tenor. We hope we are not of those moralists who assume a merit in denouncing the international marriages which have brought our women, some to think tolerantly and some to think favorably of a monarchy as affording greater scope for their social genius. But we should ask, with the mock-seriousness befitting such a psychological study, how it was that, while American girls married baronets and viscounts and earls and dukes, almost none, if any, of their brothers married the sisters or daughters of such noblemen. It could not be that they were not equally rich and therefore equally acceptable, and could it be that they made it a matter of conscience not to marry ladies of title? Were our men, then, more patriotic than our women? Were men naturally more republican than women?
"This question would bring us to the pass where we should more or less drop the mocking mask. We should picture a state of things in which we had actually arrived at a monarchy of our own, with a real sovereign and a nobility and a court, and the rest of the tradition. With a sudden severity we should ask where, since they could not all be of the highest rank, our women would consent to strike the procession of precedence? How, with their inborn and inbred notions of the deference due their sex, with that pride of womanhood which our republican chivalry has cherished in them, they would like, when they went to court, to stand, for hours perhaps, while a strong young man, or a fat old man, or a robust man in the prime of life, remained seated in the midst of them? Would it flatter their hopes of distinction to find the worst scenes of trolley-car or subway transit repeated at the highest social function in the land, with not even a hanging-strap to support their weariness, their weakness, or, if we must say it, their declining years? Would the glory of being part of a spectacle testifying in our time to the meanness and rudeness of the past be a compensation for the aching legs and breaking backs under the trailing robes and the nodding plumes of a court dress?"
"That would be a telling stroke," our visitor said, "but wouldn't it be a stroke retold? It doesn't seem to me very new."
"No matter," we said. "The question is not what a thing is, but how it is done. You asked how we should treat a given subject, and we have answered."
"And is that all you could make of it?"
"By no means. As subjects are never exhausted, so no subject is ever exhausted. We could go on with this indefinitely. We could point out that the trouble was, with us, not too much democracy, but too little; that women's civic equality with men was perhaps the next step, and not the social inequality among persons of both sexes. Without feeling that it affected our position, we would acknowledge that there was now greater justice for women in a monarchy like Great Britain than in a republic like the United States; with shame we would acknowledge it; but we would never admit that it was so because of the monarchism of the first or the republicanism of the last. We should finally be very earnest with this phase of our subject, and we should urge our fair readers to realize that citizenship was a duty as well as a right. We should ask them before accepting the suffrage to consider its responsibilities and to study them in the self-sacrificing attitude of their husbands and fathers, or the brothers of one another, toward the state. We should make them observe that the actual citizen was not immediately concerned with the pomps and glories of public life; that parties and constituencies were not made up of one's fellow-aristocrats, but were mostly composed of plebeians very jealous of any show of distinction, and that, in spite of the displeasures of political association with them, there was no present disposition in American men to escape to monarchy from them. We cannot, we should remind them, all be of good family; that takes time, or has taken it; and without good family the chances of social eminence, or even prominence, are small at courts. Distinction is more evenly distributed in a democracy like ours; everybody has a chance at it. To be sure, it is not the shining honor bestowed by kings, but when we remember how often the royal hand needs washing we must feel that the honor from it may have the shimmer of putrescence. This is, of course, the extreme view of the case; and the condition of the royal hand is seldom scrutinized by those who receive or those who witness the honor bestowed. But the honor won from one's fellow-citizens is something worth having, though it is not expressed in a ribbon or a title. Such honor, it seems probable, will soon be the reward of civic virtue in women as well as men, and we hope women will not misprize it. The great end to be achieved for them by the suffrage is self-government, but with this goes the government of others, and that is very pleasant. The head of our state may be a woman, chosen at no far-distant election; and though it now seems droll to think of a woman being president, it will come in due time to seem no more so than for a woman to be a queen or an empress. At any rate, we must habituate our minds to the idea; we must realize it with the hope it implies that no woman will then care socially to outshine her sister; at the most she will be emulous of her in civic virtue, the peculiar grace and glory of republics. We understand that this is already the case in New Zealand and Colorado and Wyoming. It is too soon, perhaps, to look for the effect of suffrage on the female character in Denmark; it may be mixed, because there the case is complicated by the existence of a king, which may contaminate that civic virtue by the honor which is the moving principle in a monarchy. And now," we turned lightly to our visitor, "what is the topic you wish us to treat?"
"Oh," he said, rising, "you have put it quite out of my head; I've been so absorbed in what you were saying. But may I ask just where in your treatment of the theme your irony ends?"
"Where yours begins," we neatly responded.
VIII
HAVING JUST GOT HOME
The air of having just got home from Europe was very evident in the friend who came to interview himself with us the other day. It was not, of course, so distinguishing as it would have been in an age of less transatlantic travel, but still, as we say, it was evident, and it lent him a superiority which he could not wholly conceal. His superiority, so involuntary, would, if he had wished to dissemble, have affirmed itself in the English cut of his clothes and in the habit of his top-hat, which was so newly from a London shop as not yet to have lost the whiteness of its sweat-band. But his difference from ourselves appeared most in a certain consciousness of novel impressions, which presently escaped from him in the critical tone of his remarks.
"Well," we said, with our accustomed subtlety, "how do you find your fellow-savages on returning to them after a three months' absence?"
"Don't ask me yet," he answered, laying his hat down on a pile of rejected MSS., delicately, so as not to dim the lustre of its nap. "I am trying to get used to them, and I have no doubt I shall succeed in time. But I would rather not be hurried in my opinions."
"You find some relief from the summer's accumulation of sky-scrapers amid the aching void of our manners?" we suggested.
"Oh, the fresh sky-scrapers are not so bad. You won't find the English objecting to them half so much as some of our own fellows. But you are all right about the aching void of manners. That is truly the bottomless pit with us."
"You think we get worse?"
"I don't say that, exactly. How could we?"
"It might be difficult."
"I will tell you what," he said, after a moment's muse. "There does not seem to be so much an increase of bad manners, or no manners, as a diffusion. The foreigners who come to us in hordes, but tolerably civil hordes, soon catch the native unmannerliness, and are as rude as the best of us, especially the younger generations. The older people, Italians, Czechs, Poles, Greeks, Assyrians, or whatever nationalities now compose those hordes, remain somewhat in the tradition of their home civility; but their children, their grandchildren, pick up our impoliteness with the first words of our language, or our slang, which they make their adoptive mother-tongue long before they realize that it is slang. When they do realize it, they still like it better than language, and as no manners are easier than manners, they prefer the impoliteness they find waiting them here. I have no doubt that their morals improve; we have morals and to spare. They learn to carry pistols instead of knives; they shoot instead of stabbing."
"Have you been attacked with any particular type of revolver since your return?" we inquired, caustically.
"I have been careful not to give offence."
"Then why are you so severe upon your fellow-savages, especially the minors of foreign extraction?"
"I was giving the instances which I supposed I was asked for; and I am only saying that I have found our manners merely worse quantitatively, or in the proportion of our increasing population. But this prompt succession of the new Americans to the heritage of the old Americans is truly grievous. They must so soon outnumber us, three to one, ten to one, twenty, fifty, and they must multiply our incivilities in geometrical ratio. At Boston, where I landed—"
"Oh, you landed at Boston!" we exclaimed, as if this accounted for everything; but we were really only trying to gain time. "If you had landed at New York, do you think your sensibilities would have suffered in the same degree?" We added, inconsequently enough, "We always supposed that Boston was exemplary in the matters you are complaining of."
"And when you interrupted me, with a want of breeding which is no doubt national rather than individual, I was going on to say that I found much alleviation from a source whose abundant sweetness I had forgotten. I moan the sort of caressing irony which has come to be the most characteristic expression of our native kindliness. There can be no doubt of our kindliness. Whatever we Americans of the old race-suicidal stock are not, we are kind; and I think that our expression of our most national mood has acquired a fineness, a delicacy, with our people of all degrees, unknown to any other irony in the world. Do you remember The House with the Green Shutters—I can never think of the book without a pang of personal grief for the too-early death of the author—how the bitter, ironical temper of the Scotch villagers is realized? Well, our ironical temper is just the antithesis of that. It is all sweetness, but it is of the same origin as that of those terrible villagers: it comes from that perfect, that familiar understanding, that penetrating reciprocal intelligence, of people who have lived intimately in one another's lives, as people in small communities do. We are a small community thrown up large, as they say of photographs; we are not so much a nation as a family; we each of us know just what any other, or all others, of us intend to the finest shade of meaning, by the lightest hint."
"Ah!" we breathed, quite as if we were a character in a novel which had inspired the author with a new phrase. "Now you are becoming interesting. Should you mind giving a few instances?"
"Well, that is not so easy. But I may say that the friendly ironies began for us as soon as we were out of the more single-minded keeping of the ship's stewards, who had brought our hand-baggage ashore, and, after extracting the last shilling of tip from us, had delivered us over to the keeping of the customs officers. It began with the joking tone of the inspectors, who surmised that we were not trying to smuggle a great value into the country, and with their apologetic regrets for bothering us to open so many trunks. They implied that it was all a piece of burlesque, which we were bound mutually to carry out for the gratification of a Government which enjoyed that kind of thing. They indulged this whim so far as to lift out the trays, to let the Government see that there was nothing dutiable underneath, where they touched or lifted the contents with a mocking hand, and at times carried the joke so far as to have some of the things removed. But they helped put them back with a smile for the odd taste of the Government. I do not suppose that an exasperating duty was ever so inexasperatingly fulfilled."
"Aren't you rather straining to make out a case? We have heard of travellers who had a very different experience."
"At New York, yes, where we are infected with the foreign singleness more than at Boston. Perhaps a still livelier illustration of our ironical temperament was given me once before when I brought some things into Boston. There were some Swiss pewters, which the officers joined me for a moment in trying to make out were more than two hundred years old; but failing, jocosely levied thirty per cent. ad valorem on them; and then in the same gay spirit taxed me twenty per cent. on a medallion of myself done by an American sculptor, who had forgotten to verify an invoice of it before the American consul at the port of shipment."
"It seems to us," we suggested, "that this was a piece of dead earnest."
"The fact was earnest," our friend maintained, "but the spirit in which it was realized was that of a brotherly persuasion that I would see the affair in its true light, as a joke that was on me. It was a joke that cost me thirty dollars."
"Still, we fail to see the irony of the transaction."
"Possibly," our friend said, after a moment's muse, "I am letting my sense of another incident color the general event too widely. But before I come to that I wish to allege some proofs of the national irony which I received on two occasions when landing in New York. On the first of these occasions the commissioner who came aboard the steamer, to take the sworn declaration of the passengers that they were not smugglers, recognized my name as that of a well-known financier who had been abroad for a much-needed rest, and personally welcomed me home in such terms that I felt sure of complete exemption from the duties levied on others. When we landed I found that this good friend had looked out for me to the extent of getting me the first inspector, and he had guarded my integrity to the extent of committing me to a statement in severalty of the things my family had bought abroad, so that I had to pay twenty-eight dollars on my daughter's excess of the hundred dollars allowed free, although my wife was bringing in only seventy-five dollars' value, and I less than fifty."
"You mean that you had meant to lump the imports and escape the tax altogether?" we asked.
"Something like that."
"And the officer's idea of caressing irony was to let you think you could escape equally well by being perfectly candid?"
"Something like that."
"And what was the other occasion?"
"Oh, it was when I had a letter to the customs officer, and he said it would be all right, and then furnished me an inspector who opened every piece of my baggage just as if I had been one of the wicked."
We could not help laughing, and our friend grinned appreciatively. "And what was that supreme instance of caressing irony which you experienced in Boston?" we pursued.
"Ah, there is something I don't think you can question. But I didn't experience it; I merely observed it. We were coming down the stairs to take our hack at the foot of the pier, and an elderly lady who was coming down with us found the footing a little insecure. The man in charge bade her be careful, and then she turned upon him in severe reproof, and scolded him well. She told him that he ought to have those stairs looked after, for otherwise somebody would be killed one of these days. 'Well, ma'am,' he said, 'I shouldn't like that. I was in a railroad accident once. But I tell you what you do. The next time you come over here, you just telephone me, and I'll have these steps fixed. Or, I'll tell you: you just write me a letter and let me know exactly how you want 'em fixed, and I'll see to it myself.'"
"That was charming," we had to own, "and it was of an irony truly caressing, as you say. Do you think it was exactly respectful?"
"It was affectionate, and I think the lady liked it as much as any of us, or as the humorist himself."
"Yes, it was just so her own son might have joked her," we assented. "But tell us, Crœsus," we continued, in the form of Socratic dialogue, "did you find at Boston that multiple unmannerliness which you say is apparent from the vast increase of adoptive citizens? We have been in the habit of going to Boston when we wished to refresh our impression that we had a native country; when we wished to find ourselves in the midst of the good old American faces, which were sometimes rather arraigning in their expression, but not too severe for the welfare of a person imaginably demoralized by a New York sojourn."
Our friend allowed himself time for reflection. "I don't think you could do that now with any great hope of success. I should say that the predominant face in Boston now was some type of Irish face. You know that the civic affairs of Boston are now in the hands of the Irish. And with reason, if the Irish are in the majority."
"In New York it has long been the same without the reason," we dreamily suggested.
"In Boston," our friend went on, without regarding us, "the Catholics outvote the Protestants, and not because they vote oftener, but because there are more of them."
"And the heavens do not fall?"
"It is not a question of that; it is a question of whether the Irish are as amiable and civil as the Americans, now they are on top."
"We always supposed they were one of the most amiable and civil of the human races. Surely you found them so?"
"I did at Queenstown, but at Boston I had not the courage to test the fact. I would not have liked to try a joke with one of them as I would at Queenstown, or as I would at Boston with an American. Their faces did not arraign me, but they forbade me. It was very curious, and I may have misread them."
"Oh, probably not," we lightly mocked. "They were taking it out of you for ages of English oppression; they were making you stand for the Black Cromwell."
"Oh, very likely," our friend said, in acceptance of our irony, because he liked irony so much. "But, all the same, I thought it a pity, as I think it a pity when I meet a surly Italian here, who at home would be so sweet and gentle. It is somehow our own fault. We have spoiled them by our rudeness; they think it is American to be as rude as the Americans. They mistake our incivility for our liberty."
"There is something in what you say," we agreed, "if you will allow us to be serious. They are here in our large, free air, without the parasites that kept them in bounds in their own original habitat. We must invent some sort of culture which shall be constructive and not destructive, and will supply the eventual good without the provisional evil."
"Then we must go a great way back, and begin with our grandfathers, with the ancestors who freed us from Great Britain, but did not free themselves from the illusion that equality resides in incivility and honesty in bluntness. That was something they transmitted to us intact, so that we are now not only the best-hearted but the worst-mannered of mankind. If our habitual carriage were not rubber-tired by irony, we should be an intolerable offence, if not to the rest of the world, at least to ourselves. By-the-way, since I came back I have been reading a curious old book by James Fenimore Cooper, which I understand made a great stir in its day. Do you know it?—Home as Found?"
"We know it as one may know a book which one has not read. It pretty nearly made an end of James Fenimore Cooper, we believe. His fellow-countrymen fell on him, tooth and nail. We didn't take so kindly to criticism in those days as we do now, when it merely tickles the fat on our ribs, and we respond with the ironic laughter you profess to like so much. What is the drift of the book besides the general censure?"
"Oh, it is the plain, dull tale of an American family returning home after a long sojourn in Europe so high-bred that you want to kill them, and so superior to their home-keeping countrymen that, vulgarity for vulgarity, you much prefer the vulgarity of the Americans who have not been away. The author's unconsciousness of the vulgarity of his exemplary people is not the only amusing thing in the book. They arrive for a short stay in New York before they go to their country-seat somewhere up the State, and the sketches of New York society as it was in the third or fourth decade of the nineteenth century are certainly delightful: society was then so exactly like what it is now in spirit. Of course, it was very provincial, but society is always and everywhere provincial. One thing about it then was different from what it is now: I mean the attitude of the stay-at-homes toward the been-abroads. They revered them and deferred to them, and they called them Hajii, or travellers, in a cant which must have been very common, since George William Curtis used the same Oriental term for his Howadji in Syria and his Nile Notes of a Howadji."