The Ways of Men [90]
wraps. By the time the players have lined up before the footlights the house is full of disappearing backs.
Past, indeed, are the unruffled days when a heroine was expected (after the action of a play had ended) to deliver the closing ENVOI dear to the writers of Queen Anne's day. Thackeray writes:-
THE PLAY IS DONE! THE CURTAIN DROPS, SLOW FALLING TO THE PROMPTER'S BELL! A MOMENT YET THE ACTOR STOPS, AND LOOKS AROUND, TO SAY FAREWELL!
A comedian who attempted any such abuse of the situation to- day would find himself addressing empty benches. Before he had finished the first line of his epilogue, most of his public would be housed in the rapid transit cars. No talent, no novelty holds our audiences to the end of a performance.
On the opening night of the opera season this winter, one third of the "boxes" and orchestra stalls were vacant before Romeo (who, being a foreigner, was taking his time) had expired.
One overworked matron of my acquaintance has perfected an ingenious and time-saving combination. By signalling from a window near her opera box to a footman below, she is able to get her carriage at least two minutes sooner than her neighbors.
During the last act of an opera like TANN-HAUSER or FAUST, in which the inconsiderate composer has placed a musical gem at the end, this lady is worth watching. After getting into her wraps and overshoes she stands, hand on the door, at the back of her box, listening to the singers; at a certain moment she hurries to the window, makes her signal, scurries back, hears Calve pour her soul out in ANGES PURS, ANGES RADIEUX, yet manages to get down the stairs and into her carriage before the curtain has fallen.
We deplore the prevailing habit of "slouch"; yet if you think of it, this universal hurry is the cause of it. Our cities are left unsightly, because we cannot spare time to beautify them. Nervous diseases are distressingly prevalent; still we hurry! hurry!! hurry!!! until, as a diplomatist recently remarked to me, the whole nation seemed to him to be but five minutes ahead of an apoplectic fit.
The curious part of the matter is that after several weeks at home, much that was strange at first becomes quite natural to the traveller, who finds himself thinking with pity of benighted foreigners and their humdrum ways, and would resent any attempts at reform.
What, for instance, would replace for enterprising souls the joy of taking their matutinal car at a flying leap, or the rapture of being first out of a theatre? What does part of a last act or the "star song" matter in comparison with five minutes of valuable time to the good? Like the river captains, we propose to run under full head of steam and get there, or b- explode!
Chapter 33 - The Spirit of History
BUILDINGS become tombs when the race that constructed them has disappeared. Libraries and manuscripts are catacombs where most of us might wander in the dark forever, finding no issue. To know dead generations and their environments through these channels, to feel a love so strong that it calls the past forth from its winding-sheet, and gives it life again, as Christ did Lazarus, is the privilege only of great historians.
France is honoring the memory of such a man at this moment; one who for forty years sought the vital spark of his country's existence, striving to resuscitate what he called "the great soul of history," as it developed through successive acts of the vast drama. This employment of his genius is Michelet's title to fame.
In a sombre structure, the tall windows of which look across the Luxembourg trees to the Pantheon, where her husband's bust has recently been placed, a widow preserves with religious care the souvenirs of this great historian. Nothing that can recall either his life or his labor is changed.
Madame Michelet's life is in strange contrast with the ways of the modern spouse who, under pretext of grief, discards and displaces every reminder of the dead. In our day, when the
Past, indeed, are the unruffled days when a heroine was expected (after the action of a play had ended) to deliver the closing ENVOI dear to the writers of Queen Anne's day. Thackeray writes:-
THE PLAY IS DONE! THE CURTAIN DROPS, SLOW FALLING TO THE PROMPTER'S BELL! A MOMENT YET THE ACTOR STOPS, AND LOOKS AROUND, TO SAY FAREWELL!
A comedian who attempted any such abuse of the situation to- day would find himself addressing empty benches. Before he had finished the first line of his epilogue, most of his public would be housed in the rapid transit cars. No talent, no novelty holds our audiences to the end of a performance.
On the opening night of the opera season this winter, one third of the "boxes" and orchestra stalls were vacant before Romeo (who, being a foreigner, was taking his time) had expired.
One overworked matron of my acquaintance has perfected an ingenious and time-saving combination. By signalling from a window near her opera box to a footman below, she is able to get her carriage at least two minutes sooner than her neighbors.
During the last act of an opera like TANN-HAUSER or FAUST, in which the inconsiderate composer has placed a musical gem at the end, this lady is worth watching. After getting into her wraps and overshoes she stands, hand on the door, at the back of her box, listening to the singers; at a certain moment she hurries to the window, makes her signal, scurries back, hears Calve pour her soul out in ANGES PURS, ANGES RADIEUX, yet manages to get down the stairs and into her carriage before the curtain has fallen.
We deplore the prevailing habit of "slouch"; yet if you think of it, this universal hurry is the cause of it. Our cities are left unsightly, because we cannot spare time to beautify them. Nervous diseases are distressingly prevalent; still we hurry! hurry!! hurry!!! until, as a diplomatist recently remarked to me, the whole nation seemed to him to be but five minutes ahead of an apoplectic fit.
The curious part of the matter is that after several weeks at home, much that was strange at first becomes quite natural to the traveller, who finds himself thinking with pity of benighted foreigners and their humdrum ways, and would resent any attempts at reform.
What, for instance, would replace for enterprising souls the joy of taking their matutinal car at a flying leap, or the rapture of being first out of a theatre? What does part of a last act or the "star song" matter in comparison with five minutes of valuable time to the good? Like the river captains, we propose to run under full head of steam and get there, or b- explode!
Chapter 33 - The Spirit of History
BUILDINGS become tombs when the race that constructed them has disappeared. Libraries and manuscripts are catacombs where most of us might wander in the dark forever, finding no issue. To know dead generations and their environments through these channels, to feel a love so strong that it calls the past forth from its winding-sheet, and gives it life again, as Christ did Lazarus, is the privilege only of great historians.
France is honoring the memory of such a man at this moment; one who for forty years sought the vital spark of his country's existence, striving to resuscitate what he called "the great soul of history," as it developed through successive acts of the vast drama. This employment of his genius is Michelet's title to fame.
In a sombre structure, the tall windows of which look across the Luxembourg trees to the Pantheon, where her husband's bust has recently been placed, a widow preserves with religious care the souvenirs of this great historian. Nothing that can recall either his life or his labor is changed.
Madame Michelet's life is in strange contrast with the ways of the modern spouse who, under pretext of grief, discards and displaces every reminder of the dead. In our day, when the