THE IMPRACTICAL

It has been frequently remarked that this is a commercial age. Our great captains of industry, our multi-millionaires, have, most of them, made their fortunes in commerce. This is an age, perhaps--especially in the United States--which rather makes a hero of the business man. For this reason there are many who are ambitious for commercial success. Every year thousands upon thousands of young men and women leave school in order to enter business. By a very natural psychological paradox, there seems to be a fascination about commerce and finance for many young people who have little apt.i.tude for these vocations. Many people, feeling their deficiencies, yearn to convince themselves and others that they are not deficient. It is only another phase of the fatality with which a Venus longs to be a Diana and a Minerva a Psyche. Thousands enter business who have no commercial or financial ability. They cannot know the requirements; they cannot understand the fundamental principles of business. Commercially they are babes in the woods. Therefore they go down to bankruptcy and insolvency, to their great detriment and to the injury of many thousands of others.

These young people are too impractical for business. They may have a theoretical understanding of it, and an intellectual desire to succeed.

But, as a result of their impractical type of mind, they neglect details, they overlook important precautions, they are, oftentimes, too credulous, too easily influenced. They usually make poor financiers; they do not make collections well; they are incautious in extending credit and in maintaining their own credit; often they are inefficient and wasteful in management; they do not take proper account of all the costs in fixing prices; they enter into foolish contracts; make promises which they are unable to keep, and oftentimes, as a result of too great optimism, undertake far more than is commercially feasible.

HUNGRY FOR FAME

The same strange quirk in human nature which takes the impractical into the marts, takes many ambitious but inherently unfit into art and literature. The stage-struck girl who has not one scintilla of dramatic ability is so common as to be a joke--to all but herself and her friends.

Every editor is wearied with his never-ending task of extinguishing lights which glow brightly with ambition but have no gleam of the divine fire.

Teachers of art and music, both in this country and abroad, are threatened with insanity because of the hordes of young men and women who come to them with money in their hands, demanding to be made into famous artists and musicians, not having been born with genius. Some of these unfortunates spend years of time and thousands of dollars in money attempting to fit themselves for careers, only to end in utter failure.

Some, even after they have made a comparative failure of their education, eke out a tortured existence, hoping against hope for the golden crown of fame and fortune.

In sober truth the fatal lack in most of these disappointed seekers is not that they have no talent, but that they are too lazy mentally to make a real success of the natural apt.i.tudes they have. They lack "the infinite capacity for taking pains." They are deluded by the idea that success depends upon inspiration--that there is no perspiration. Yet every great writer, every great musician, every great actor, every great author, knows that there is no fame, there is no possibility of success, except through the most prolonged and painstaking drudgery.

"LIFE IS BRIEF--ART IS LONG"

Perhaps no actor of modern times had greater dramatic talents inborn than Richard Mansfield, yet here is the story of how Richard Mansfield[6]

worked, toiled, starved and suffered in achieving success in his art:

His friends crowded St. George's Hall for his first appearance. It was observed, as he uttered the few lines of the Beadle, that he was excessively nervous. When, later in the evening, he sat down at the piano and struck a preliminary chord, he fainted dead away.

[Footnote 6: From "Richard Mansfield," by Paul Wilstach. Charles Scribner's Sons, New York.]

Mr. Reed relieved him of his position at once. In discharging him, he said: 'You are the most nervous man I have ever seen,' It was not all nervousness, however. Mansfield had not eaten for three days. He had fainted from hunger.

"Mansfield was now on evil days, indeed. He moved into obscure quarters and fought the hard fight. It was years before he would speak of these experiences. In fact, he rarely ruminated on the past in the confidences of either conversation or correspondence. Memory troubled him little and by the universal quotation it withheld its pleasures. He dwelt in the present, with his eyes and hopes on the future. It was always the future with him. No pleasure or attainment brought complete satisfaction. He looked to the past only in relation to the future; for experience, for example, for what to avoid.

"Once, when at the meridian of his fame, he was asked to lecture before the faculty and students of the University of Chicago. For his subject he chose, 'On Going on the Stage.' That he might exploit to those before him the reality of the actor's struggle, he lifted for the first time a corner of that veil of mystery which hung between his public and his past, and told of these early London days:

"For years I went home to my little room, if, fortunately, I had one,' he said, 'and perhaps a tallow dip was stuck in the neck of a bottle, and I was fortunate if I had something to cook for myself over a fire, if I had a fire. That was my life. When night came I wandered about the streets of London, and if I had a penny I invested it in a baked potato from the baked-potato man on the corner. I would put these hot potatoes in my pockets, and after I had warmed my hands, I would swallow the potato. That is the truth.'

"At length, his wardrobe became so reduced that attendance at any but the most informal entertainments became out of the question, and finally he had to give up these. Soon he was inking the seams of his coat, and wandered about shunning friends, for fear they would learn to what a condition he was reduced.

"'Often,' he admitted, 'I stayed in bed and slept because when I was awake I was hungry. Footsore, I would gaze into the windows of restaurants, bakeries, and fruit shops, thinking the food displayed in them the most tempting and beautiful sight in the world. There were times when I literally dined on sights and smells,'

"He did every species of dramatic and musical hack work in drawing rooms, in clubs, and in special performances in theatres. Sometimes he got into an obscure provincial company, but he said that his very cleverness was a kind of curse, since the harder he worked and the better the audiences liked him, the quicker he was discharged. The established favorites of these little companies always struck when a newcomer made a hit.

"Richard Barker was the stage manager and Mansfield could never please him. After trying again and again, he once cried: 'Please, Barker, do let me alone. I shall be all right. I have acted the part.' 'Not you,'

declared Barker. 'Act? You act, man? You will never act as long as you live!'

"The recollection of the rebuffs, poverty, starvation, inability to find sympathy, because, possibly, of the pride which repelled it, the ill-fortune which s.n.a.t.c.hed the extended opportunity just as he was about to grasp it, the jealousy of established favorites of the encroaching popularity of newcomers, the hardships of provincial travel and life in a part of the country and at a time when the play-actor was still regarded as a kind of vagabond and was paid as such, the severity of the discipline he encountered from the despots over him--all painted pictures on his memory and fed a fire under the furnace of his nature which tempered the steel in his composition to inflexibility. The stern rod of discipline was held over him every moment and often fell with unforgetable severity. He was trained by autocrats in a school of experience more autocratic than anything known to the younger actors of this generation.

"When the part of Chevrial was given to him, Mansfield was fascinated with his opportunity, but he kept his counsel. He applied every resource of his ability to the composition of his performance of the decrepit old rake.

He sought specialists on the infirmities of roues; he studied specimens in clubs, on the avenue, and in hospitals; and in the privacy of his own room he practiced make-ups for the part every spare moment. The rehearsals themselves were sufficiently uneventful. He gave evidence of a careful, workmanlike performance, but promise of nothing more.

"While he was working out the part Mansfield scarcely ate or slept. He had a habit of dining with a group of young Bohemians at a table d'hote in Sixth Avenue. The means of none of them made regularity at these forty-cent banquets possible, so his absence was meaningless. One evening, however, he dropped into his accustomed chair, but tasted nothing.

"'What's the matter, Mansfield?' asked one of the others.

"To-morrow night I shall be famous,' he said. 'Come and see the play,'

"His friends were accustomed to lofty talk from him. His prophecy was answered with a light laugh and it had pa.s.sed out of their memories as they drifted into the night. This was one of those intuitions to which he often confessed, and it told him that the years of apprenticeship were behind him and the artist in him was on the eve of acknowledgment.

"On the night of January 11, 1883, the theatre was radiant with an expectant audience--half convinced in advance by the record of the Union Square's past, but by the same token exacting to a merciless degree--to see their old friends in the first performance in America of 'A Parisian Romance.'

"Mansfield made his entrance as the Baron Chevrial within a few moments after the rise of the curtain. It was effected in an unconcerned silence on the part of the audience.

"There were, on the other hand, the deserved receptions of old favorites by old friends, as Miss Jewett, Miss Vernon, Miss Carey, Mr. DeBelleville, Mr. Pa.r.s.elle 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 coa.r.s.e, gay, though aging, voluptuary. The scene was short and he was soon off, though not without a little impudent touch, in pa.s.sing 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 b.u.t.ton it, turned up to his door humming like a preying b.u.mble-bee, faced slowly about again, his piercing little pink eyes darting with antic.i.p.ation, 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 _pet.i.t 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 gla.s.s 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 gla.s.s, said: 'Here's to the G.o.d 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 gla.s.s 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 br.i.m.m.i.n.g 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 gla.s.ses, 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 gla.s.s 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 gla.s.s, 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 princ.i.p.ally 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.