The University of Hard Knocks [31]
out--all nine of them. When I went out the door, the old sexton said as he jiggled the key in the door to hurry me, "Don't feel bad, bub, I've heerd worse than that. You're all right, bub, but you don't know nothin' yet."
I cried all the way to town. If he had plunged a dagger into me he would not have hurt me so much. It has taken some years to learn that the old man was right. I had wonderful truth in that sermon. No sermon ever had greater truth, but I had not lived it. The old man meant I did not know my own sermon.
So, children, when you prepare your commencement oration, write about what you know best, what you have lived. If you know more about peeling potatoes than about anything else, write about "Peeling Potatoes," and you are most likely to hear the applause peal from that part of your audience unrelated to you.
Out of every thousand books published, perhaps nine hundred of them do not sell enough to pay the cost of printing them. As you study the books that do live, you note that they are the books that have been lived. Perhaps the books that fail have just as much of truth in them and they may even be better written, yet they lack the vital impulse. They come out of the author's head. The books that live must come out of his heart. They are his own life. They come surging and pulsating from the book of his experience.
The best part of our schooling comes not from the books, but from the men behind the books.
We study agriculture from books. That does not make us an agriculturist. We must take a hoe and go out and agricult. That is the knowing in the doing.
You Must Live Your Song
"There was never a picture painted, There was never a poem sung, But the soul of the artist fainted, And the poet's heart was wrung."
So many young people think because they have a good voice and they have cultivated it, they are singers. All this cultivation and irritation and irrigation and gargling of the throat are merely symptoms of a singer--merely neckties. Singers look better with neckties.
They think the song comes from the diaphragm. But it comes from the heart, chaperoned by the diaphragm. You cannot sing a song you have not lived.
Jessie was singing the other day at a chautauqua. She has a beautiful voice, and she has been away to "Ber-leen" to have it attended to. She sang that afternoon in the tent, "The Last Rose of Summer." She sang it with every note so well placed, with the sweetest little trills and tendrils, with the smile exactly like her teacher had taught her. Jessie exhibited all the machinery and trimmings for the song, but she had no steam, no song. She sang the notes. She might as well have sung, "Pop, Goes the Weasel."
The audience politely endured Jessie. That night a woman sang in the same tent "The Last Rose of Summer." She had never been to Berlin, but she had lived that song. She didn't dress the notes half so beautifully as Jessie did, but she sang it with the tremendous feeling it demands. The audience went wild. It was a case of Gussie and Bill Whackem.
All this was gall and wormwood to Jessie. "Child," I said to her, "this is the best singing lesson you have ever had. Your study is all right and you have a better voice than that woman, but you cannot sing "The Last Rose of Summer" yet, for you do not know very much about the first rose of summer. And really, I hope you'll never know the ache and disappointment you must know before you can sing that song, for it is the sob of a broken-hearted woman. Learn to sing the songs you have lived."
Why do singers try to execute songs beyond the horizon of their lives? That is why they "execute" them.
The Success of a Song-Writer
The guest of honor at a dinner in a Chicago club was a woman who is one of the widely known song-writers of this land. As I had the good fortune to be sitting at table with her I wanted to ask her, "How did you get your songs known? How did you know what kind of songs the people want to sing?"
But in the hour she talked with her friends around the table I found
I cried all the way to town. If he had plunged a dagger into me he would not have hurt me so much. It has taken some years to learn that the old man was right. I had wonderful truth in that sermon. No sermon ever had greater truth, but I had not lived it. The old man meant I did not know my own sermon.
So, children, when you prepare your commencement oration, write about what you know best, what you have lived. If you know more about peeling potatoes than about anything else, write about "Peeling Potatoes," and you are most likely to hear the applause peal from that part of your audience unrelated to you.
Out of every thousand books published, perhaps nine hundred of them do not sell enough to pay the cost of printing them. As you study the books that do live, you note that they are the books that have been lived. Perhaps the books that fail have just as much of truth in them and they may even be better written, yet they lack the vital impulse. They come out of the author's head. The books that live must come out of his heart. They are his own life. They come surging and pulsating from the book of his experience.
The best part of our schooling comes not from the books, but from the men behind the books.
We study agriculture from books. That does not make us an agriculturist. We must take a hoe and go out and agricult. That is the knowing in the doing.
You Must Live Your Song
"There was never a picture painted, There was never a poem sung, But the soul of the artist fainted, And the poet's heart was wrung."
So many young people think because they have a good voice and they have cultivated it, they are singers. All this cultivation and irritation and irrigation and gargling of the throat are merely symptoms of a singer--merely neckties. Singers look better with neckties.
They think the song comes from the diaphragm. But it comes from the heart, chaperoned by the diaphragm. You cannot sing a song you have not lived.
Jessie was singing the other day at a chautauqua. She has a beautiful voice, and she has been away to "Ber-leen" to have it attended to. She sang that afternoon in the tent, "The Last Rose of Summer." She sang it with every note so well placed, with the sweetest little trills and tendrils, with the smile exactly like her teacher had taught her. Jessie exhibited all the machinery and trimmings for the song, but she had no steam, no song. She sang the notes. She might as well have sung, "Pop, Goes the Weasel."
The audience politely endured Jessie. That night a woman sang in the same tent "The Last Rose of Summer." She had never been to Berlin, but she had lived that song. She didn't dress the notes half so beautifully as Jessie did, but she sang it with the tremendous feeling it demands. The audience went wild. It was a case of Gussie and Bill Whackem.
All this was gall and wormwood to Jessie. "Child," I said to her, "this is the best singing lesson you have ever had. Your study is all right and you have a better voice than that woman, but you cannot sing "The Last Rose of Summer" yet, for you do not know very much about the first rose of summer. And really, I hope you'll never know the ache and disappointment you must know before you can sing that song, for it is the sob of a broken-hearted woman. Learn to sing the songs you have lived."
Why do singers try to execute songs beyond the horizon of their lives? That is why they "execute" them.
The Success of a Song-Writer
The guest of honor at a dinner in a Chicago club was a woman who is one of the widely known song-writers of this land. As I had the good fortune to be sitting at table with her I wanted to ask her, "How did you get your songs known? How did you know what kind of songs the people want to sing?"
But in the hour she talked with her friends around the table I found