hugging and whitewashing the guilty one.
In the second act a grand Roman official is not above trying to blast Appelles' reputation by falsely charging him with misappropriating public moneys. Appelles, who is too proud to endure even the suspicion of irregularity, strips himself to naked poverty to square the unfair account, and his troubles begin: the blight which is to continue and spread strikes his life; for the frivolous, pretty creature whom he brought from Rome has no taste for poverty and agrees to elope with a more competent candidate. Her presence in the house has previously brought down the pride and broken the heart of Appelles' poor old mother; and her life is a failure. Death comes for her, but is willing to trade her for the Roman girl; so the bargain is struck with Appelles, and the mother is spared for the present.
No one's life escapes the blight. Timoleus, the gay satirist of the first two acts, who scoffed at the pious hypocrisies and money-grubbing ways of the great Roman lords, is grown old and fat and blear-eyed and racked with disease in the third, has lost his stately purities, and watered the acid of his wit. His life has suffered defeat. Unthinkingly he swears by Zeus—from ancient habit—and then quakes with fright; for a fellow-communicant is passing by. Reproached by a pagan friend of his youth for his apostasy, he confesses that principle, when unsupported by an assenting stomach, has to climb down. One must have bread; and 'the bread is Christian now.' Then the poor old wreck, once so proud of his iron rectitude, hobbles away, coughing and barking.
In that same act Appelles give his sweet young Christian daughter and her fine young pagan lover his consent and blessing, and makes them utterly happy—for five minutes. Then the priest and the mob come, to tear them apart and put the girl in a nunnery; for marriage between the sects is forbidden. Appelles' wife could dissolve the rule; and she wants to do it; but under priestly pressure she wavers; then, fearing that in providing happiness for her child she would be committing a sin dangerous to her own, she goes over to the opposition, and throws the casting vote for the nunnery. The blight has fallen upon the young couple, and their life is a failure.
In the fourth act, Longinus, who made such a prosperous and enviable start in the first act, is left alone in the desert, sick, blind, helpless, incredibly old, to die: not a friend left in the world—another ruined life. And in that act, also, Appelles' worshipped boy, Nymphas, done to death by the mob, breathes out his last sigh in his father's arms—one more failure. In the fifth act, Appelles himself dies, and is glad to do it; he who so ignorantly rejoiced, only four acts before, over the splendid present of an earthly immortality—the very worst failure of the lot!
II
Now I approach my project. Here is the theatre list for Saturday, May 7, 1898, cut from the advertising columns of a New York paper:
(graphic here)
Now I arrive at my project, and make my suggestion. From the look of this lightsome feast, I conclude that what you need is a tonic. Send for 'The Master of Palmyra.' You are trying to make yourself believe that life is a comedy, that its sole business is fun, that there is nothing serious in it. You are ignoring the skeleton in your closet. Send for 'The Master of Palmyra.' You are neglecting a valuable side of your life; presently it will be atrophied. You are eating too much mental sugar; you will bring on Bright's disease of the intellect. You need a tonic; you need it very much. Send for 'The Master of Palmyra.' You will not need to translate it; its story is as plain as a procession of pictures.
I have made my suggestion. Now I wish to put an annex to it. And that is this: It is right and wholesome to have those light comedies and entertaining shows; and I shouldn't wish to see them diminished. But none of us is always in the comedy spirit; we have our graver moods; they come to us all; the lightest of us cannot escape them. These moods have their appetites—healthy and legitimate appetites—and there ought to be some way of satisfying them. It seems to me that New York ought to have one theatre devoted to tragedy. With her three millions of population, and seventy outside millions to draw upon, she can afford it, she can support it. America devotes more time, labour, money and attention to distributing literary and musical culture among the general public than does any other nation, perhaps; yet here you find her neglecting what is possibly the most effective of all the breeders and nurses and disseminators of high literary taste and lofty emotion—the tragic stage. To leave that powerful agency out is to haul the culture-wagon with a crippled team. Nowadays, when a mood comes which only Shakespeare can set to music, what must we do? Read Shakespeare ourselves! Isn't it pitiful? It is playing an organ solo on a jew's-harp. We can't read. None but the Booths can do it.
Thirty years ago Edwin Booth played 'Hamlet' a hundred nights in New York. With three times the population, how often is 'Hamlet' played now in a year? If Booth were back now in his prime, how often could he play it in New York? Some will say twenty-five nights. I will say three hundred, and say it with confidence. The tragedians are dead; but I think that the taste and intelligence which made their market are not.
What has come over us English-speaking people? During the first half of this century tragedies and great tragedians were as common with us as farce and comedy; and it was the same in England. Now we have not a tragedian, I believe, and London, with her fifty shows and theatres, has but three, I think. It is an astonishing thing, when you come to consider it. Vienna remains upon the ancient basis: there has been no change. She sticks to the former proportions: a number of rollicking comedies, admirably played, every night; and also every night at the Burg Theatre—that wonder of the world for grace and beauty and richness and splendour and costliness—a majestic drama of depth and seriousness, or a standard old tragedy. It is only within the last dozen years that men have learned to do miracles on the stage in the way of grand and enchanting scenic effects; and it is at such a time as this that we have reduced our scenery mainly to different breeds of parlours and varying aspects of furniture and rugs. I think we must have a Burg in New York, and Burg scenery, and a great company like the Burg company. Then, with a tragedy-tonic once or twice a month, we shall enjoy the comedies all the better. Comedy keeps the heart sweet; but we all know that there is wholesome refreshment for both mind and heart in an occasional climb among the solemn pomps of the intellectual snow-summits built by Shakespeare and those others. Do I seem to be preaching? It is out of my life: I only do it because the rest of the clergy seem to be on vacation.
TRAVELLING WITH A REFORMER
Last spring I went out to Chicago to see the Fair, and although I did not see it my trip was not wholly lost— there were compensations. In New York I was introduced to a Major in the regular army who said he was going to the Fair, and we agreed to go together. I had to go to Boston first, but that did not interfere; he said he would go along and put in the time. He was a handsome man and built like a gladiator. But his ways were gentle, and his speech was soft and persuasive. He was companionable, but exceedingly reposeful. Yes, and wholly destitute of the sense of humour. He was full of interest in everything that went on around him, but his serenity was indestructible; nothing disturbed him, nothing excited him.
But before the day was done I found that deep down in him somewhere he had a passion, quiet as he was—a passion for reforming petty public abuses. He stood for citizenship—it was his hobby. His idea was that every citizen of the republic ought to consider himself an unofficial policeman, and keep unsalaried watch and ward over the laws and their execution. He thought that the only effective way of preserving and protecting public rights was for each citizen to do his share in preventing or punishing such infringements of them as came under his personal notice.
It was a good scheme, but I thought it would keep a body in trouble all the time; it seemed to me that one would be always trying to get offending little officials discharged, and perhaps getting laughed at for all reward. But he said no, I had the wrong idea: that there was no occasion to get anybody discharged; that in fact you mustn't get anybody discharged; that that would itself be a failure; no, one must reform the man—reform him and make him useful where he was.
'Must one report the offender and then beg his superior not to discharge him, but reprimand him and keep him?'
'No, that is not the idea; you don't report him at all, for then you risk his bread and butter. You can act as if
