Chapter 8

It will be readily seen that this power once gained, no actor would find it necessary to skip every other night, in consequence of the severe fatigue which follows the acting of an emotional role. Not only is the physical fatigue saved, but the power of expression, the power for intense acting, so far as it impresses the audience, is steadily increased.

The inability of young persons to express an emotion which they feel and appreciate heartily, can be always overcome in this way. Relaxing frees the channels, and the channels being open the real poetic or dramatic feeling cannot be held back. The relief is as if one were let out of prison. Personal faults that come from self-consciousness and nervous tension may be often cured entirely without the necessity of drawing attention to them, simply by relaxing.

Dramatic instinct is a delicate perception of, quick and keen sympathies for, and ability to express the various phases of human nature. Deep study and care are necessary for the best development of these faculties; but the nerves must be left free to be guided to the true expression,--neither allowed to vibrate to the ecstatic delight of the impressions, or in mistaken sympathy with them, but kept clear as conductors of all the heart can feel and the mind understand in the character or poem to be interpreted.

This may sound cold. It is not; it is merely a process of relieving superfluous nervous tension in acting, by which obstructions are removed so that real sympathetic emotions can be stronger and fuller, and perceptions keener. Those who get no farther than emotional vibrations of the nerves in acting, know nothing whatever of the greatness or power of true dramatic instinct.

There are three distinct schools of dramatic art,--one may be called dramatic hysteria, the second dramatic hypocrisy. The first means emotional excitement and nervous exhaustion; the second artificial simulation of a feeling. Dramatic sincerity is the third school, and the school that seems most truly artistic. What a wonderful training is that which might,--which ought to be given an actor to help him rise to the highest possibility of his art!

A free body, exquisitely responsive to every command of the mind, is absolutely necessary; therefore there should be a perfect physical training. A quick and keen perception to appreciate noble thoughts, holding each idea distinctly, and knowing the relations of each idea to the others, must certainly be cultivated; for in acting, every idea, every word, should come clearly, each taking its own place in the thought expressed.

Broad human sympathies, the imaginative power of identifying himself with all phases of human nature, if he has an ideal in his profession above the average, an actor cannot lack. This last is quite impossible without broad human charity; for "to observe truly you must sympathize with those you observe, and to sympathize with them you must love them, and to love them you must forget yourself." And all these requisites--the physical state, the understanding, and the large heart--seem to centre in the expression of a well-trained voice,--a voice in which there is the minimum of body and the maximum of soul.

By training, I always mean a training into Nature. As I have said before, if art is Nature illuminated, we must find Nature before we can reach art. The trouble is that in acting, more than in any other art, the distinction between what is artistic and what is artificial is neither clearly understood nor appreciated; yet so marked is the difference when once we see it, that the artificial may well be called the hell of art, as art itself is heavenly.

Sincerity and simplicity are the foundations of art. A feigning of either is often necessary to the artificial, but many times impossible. Although the external effect of this natural training is a great saving of nervous force in acting, the height of its power cannot be reached except through a simple aim, from the very heart, toward sincere artistic expression.

So much for acting. It is a magnificent study, and should be more truly wholesome in its effects than any other art, because it deals with the entire body. But, alas I it seems now the most thoroughly morbid and unwholesome.

All that has been said of acting will apply also to singing, especially to dramatic singing and study for opera; only with singing even more care should be taken. No singer realizes the necessity of a quiet, absolutely free body for the best expression of a high note, until having gained a certain physical freedom without singing, she takes a high note and is made sensitive to the superfluous tension all over the body, and later learns to reach the same note with the repose which is natural; then the contrast between the natural and the unnatural methods of singing becomes most evident,--and not with high notes alone, but with all notes, and all combinations of notes. I speak of the high note first, because that is an extreme; for with the majority of singers there is always more or less fear when a high note is coming lest it may not be reached easily and with all the clearness that belongs to it. This fear in itself is tension. For that reason one must learn to relax to a high note. A free body relieves the singer immensely from the mechanism of singing. So perfect is the unity of the body that a voice will not obey perfectly unless the body, as a whole, be free. Once secure in the freedom of voice and body to obey, the song can burst forth with all the musical feeling, and all the deep appreciation of the words of which the singer is capable. Now, unfortunately, it is not unusual in listening to a public singer, to feel keenly that he is entirely adsorbed in the mechanism of his art.

If this freedom is so helpful, indeed so necessary, to reach one's highest power in singing, it is absolutely essential on the operatic stage. With it we should have less of the wooden motion so common to singers in opera. When one is free, physically free, the music seems to draw out the acting. With a great composer and an interpreter free to respond, the music and the body of the actor are one in their power of expressing the emotions. And the songs without words of the interludes so affect the spirit of the singer that, whether quiet or in motion, he seems, through being a living embodiment of the music, to impress the sense of seeing so that it increases the pleasure of hearing.

I am aware that this standard is ideal; but it is not impossible to approach it,--to come at least much nearer to it than we do now, when the physical movements on the stage are such, that one wants to listen to most operas with closed eyes.

We have considered artistic expression when the human body alone is the instrument. When the body is merely a means to the use of a secondary instrument, a primary training of the body itself is equally necessary.

A pianist practises for hours to command his fingers and gain a touch which will bring the soul from his music, without in the least realizing that so long as he is keeping other muscles in his body tense, and allowing the nervous force to expend itself unnecessarily in other directions, there never will be clear and open channels from his brain to his fingers; and as he literally plays with his brain, and not with his fingers, free channels for a magnetic touch are indispensable.

To watch a body _give_ to the rhythm of the music in playing is most fascinating. Although the motion is slight, the contrast between that and a pianist stiff and rigid with superfluous tension is, very marked, and the difference in touch when one relaxes to the music with free channels has been very clearly proved. Beside this, the freedom in mechanism which follows the exercises for arms and hands is strikingly noticeable.

With the violin, the same physical equilibrium of motion must be gained; in fact it is equally necessary in all musical performance, as the perfect freedom of the body is always necessary before it can reach its highest power in the use of any secondary instrument.

In painting, the freer a body is the more perfectly the mind can direct it. How often we can see clearly in our minds a straight line or a curve or a combination of both, but our hands will not obey the brain, and the picture fails. It does not by any means follow that with free bodies we can direct the hand at once to whatever the brain desires, but simply that by making the body free, and so a perfect servant of the mind, it can be brought to obey the mind in a much shorter time and more directly, and so become a truer channel for whatever the mind wishes to accomplish.

In the highest art, whatever form it may take, the law of simplicity is perfectly illustrated.

It would be tiresome to go through a list of the various forms of artistic expression; enough has been said to show the necessity for a free body, sensitive to respond to, quick to obey, and open to express the commands of its owner.

XVI.

TESTS

ADOPTING the phrase of our forefathers, with all its force and brevity, we say, "The proof of the pudding is in the eating."

If the laws adduced in this book are Nature's laws, they should preserve us in health and strength. And so they do just so far as we truly and fully obey them.

Then are students and teachers of these laws never ill, never run down, "nervous," or prostrated? Yes, they are sometimes ill, sometimes run down and overworked, and suffer the many evil effects ensuing; but the work which has produced these results is much greater and more laborious than would have been possible without the practice of the principles. At the same time their states of illness occur because they only partially obey the laws. In the degree which they obey they will be preserved from the effects of tensity, overstrung nerves, and generally worn-out bodies; and in sickness coming from other causes--mechanical, hereditary, etc.--again, according to their obedience, they will be held in all possible physical and mental peace, so that the disease may wither and drop like the decayed leaf of a plant.

As well might we ask of the wisest clergyman in the land, Do his truths _never_ fail him? Is he _always_ held in harmony and nobility by their power? However great and good the man may be, this state of perfection will never be reached in this world.

In exact parallel to the spiritual laws upon which all universal truth, of all religions, is founded, are the truths of this teaching of physical peace and equilibrium. As religion applies to all the needs of the soul, so this applies to all the needs of the body. As a man may be continually progressing in nobility of thought and action, and yet find himself under peculiar circumstances tried even to the stumbling point,--so may the student of bodily quiet and equilibrium, who appears even to a very careful observer to be in surprising possession of his forces, under a similar test stumble and fall into some form of the evil effects out of which he has had power to lead others.

It is important that this parallelism should be recognized, that the unity of these truths may be finally accomplished in the living; therefore we repeat, Is this any more possible than that the full control of the soul should be at once possessed?

Think of the marvellous construction of the human body,--the exquisite adjustment of its economy. Could a power of control sufficient to apply to its every detail be fully acquired at once, or even in a life-time?

But when one does fall who has made himself even partially at one with Nature's way of living, the power of patient waiting for relief is very different. He separates himself from his ailments in a way which without the preparation would be to him unknown. He has, without drug or other external assistance, an anodyne always within himself which he can use at pleasure. He positively experiences that "underneath are the everlasting arms," and the power to experience this gives him much respite from pain.

Pain is so often prolonged and accentuated _by dwelling in its memory, _living in a self-pity of the time when it shall come again! The patient who comes to his test with the bodily and mental repose already acquired, cuts off each day from the last, each hour from the last, one might almost say each breath from the last, so strong is his confidence in the renewal of forces possible to those who give themselves quite trustfully into Nature's hands.

It is not that they refuse external aid or precaution. No; indeed the very quiet within makes them feel most keenly when it is orderly to rest and seek the advice of others. Also it makes them faithful in following every direction which will take them back into the rhythm of a healthful life.

But while they do this they do not centre upon it. They take the precautions as a means and not as an end. They centre upon that which they have within themselves, and they know that that possible power being in a state of disorder and chaos no one or all of the outside measures are of any value.

As patients prepared by the work return into normal life, the false exhilaration, which is a sure sign of another stumble, is seen and avoided. They have learned a serious lesson in economy, and they profit by it. Where they were free before, they become more so; and where they were not, they quietly set themselves toward constant gain. They work at lower pressure, steadily gaining in spreading the freedom and quiet deeper into their systems, thus lessening the danger of future falls.

Let us state some of the causes for "breaking down," even while trying well to learn Nature's ways.

First, a trust in one's own capacity for freedom and quiet. "I can do this, now that I know how to relax." When truly considered, the thing is out of reason, and we should say, "Because I know how to relax, I see that I must not do this."

The case is the same with the gymnast who greatly overtaxes his muscle, having foolishly concluded that because he has had some training he can successfully meet the test. There is nothing so truly stupid as self-satisfaction; and these errors, with all others of the same nature, re fruits of our stupidity, and unless shunned surely lead us into trouble.

Some natures, after practice, relax so easily that they are soon met by the dangers of overrelaxation. Let them remember that it is really equilibrium they are seeking, and by balancing their activity and their relaxation, and relaxing only as a means to an end,--the end of greater activity and use later,--they avoid any such ill effect.

As the gymnast can mistake the purpose of his muscular development, putting it in the place of greater things, regarding it as an end instead of a means,--so can he who is training for a better use of his nervous force. In the latter case, the signs of this error are a slackened circulation, a loathing to activity, and various evanescent sensations of peace and satisfaction which bear no test, vanishing as soon as they are brought to the slightest trial.

Unless you take up your work with fresh interest and renewed vigor each time after practice, you may know that all is not as it should be.

To avoid all these mistakes, examine the work of each day and let the next improve upon it.

If you are in great need of relaxing, take more exercise in the fresh air. If unable to exercise, get your balance by using slow and steady breaths, which push the blood vigorously over its path in the body, and give one, to a degree, the effect of exercise.

Do not mistake the disorders which come at first, when turning away from an unnatural and wasteful life of contractions, for the effects of relaxing. Such disorders are no more caused by relaxing than are the disorders which beset a drunkard or an opium-eater, upon refusing to continue in the way of his error, primarily caused by the abandonment of his evil habit, even though the appearance is that he must return to it in order to re-establish his pseudo-equilibrium.

One more cause of trouble, especially in working without a guide, is the habit of going through the form of the exercises without really doing them. The tests needed here have been spoken of before.

Do not separate your way of practising from your way of living, but separate your life entirely from your practice while practising, trying outside of this time always to accomplish the agreement of the two,--that is, live the economy of force that you are practising. You can be just as gay, just as vivacious, but without the fatiguing after-effects.

As you work to gain the ideal equilibrium, if your test comes, do not be staggered nor dismayed. Avoid its increase by at once giving careful consideration to the causes, and dropping them. Keep your life quietly to the form of its usual action, as far as you wisely can. If you have gained even a little appreciation of equilibrium, you will not easily mistake and overdo.

When you find yourself becoming bound to the dismal thought of your test and its terrors, free yourself from it every time, by concentrating upon the weight of your body, or the slowness of the slowest breaths you can draw. Keep yourself truly free, and these feelings of discouragement and all other mental distortions will steadily lose power, until for you they are no more. If they last longer than you think they should, persist in every endeavor, knowing that the after-result, in increased capacity to help yourself and others, will be in exact ratio to your power of persistency without succumbing.

The only way to keep truly free, and therefore ready to profit by the help Nature always has at hand, is to avoid thought of your form of illness as far as possible. The man with indigestion gives the stomach the first place in his mind; he is a mass of detailed and subdued activity, revolving about a monstrous stomach,--his brain, heart, lungs, and other organs, however orderly they may be, are of no consideration, and are slowly made the degraded slaves of himself and his stomach.

The man who does not sleep, worships sleep until all life seems _sleep,_ and no life any importance without it. He fixes his mind on not sleeping, rushes for his watch with feverish intensity if a nap does come, to gloat over its brevity or duration, and then wonders that each night brings him no more sleep.

There is nothing more contracting to mind and body than such idol-worship. Neither blood nor nervous fluid can flow as it should.

Let us be sincere in our work, and having gained even one step toward a true equilibrium, hold fast to it, never minding how severely we are tempted.

We see the work of quiet and economy, the lack of strain and of false purpose, in fine old Nature herself; let us constantly try to do our part to make the picture as evident, as clear and distinct, in God's greater creation,--Human Nature.

XVII

THE RATIONAL CARE OF SELF

A WOMAN who had had some weeks of especially difficult work for mind and body, and who had finished it feeling fresh and well, when a friend expressed surprise at her freedom from fatigue, said, with a smiling face: "Oh! but I took great care of myself all through it: I always went to bed early, and rested when it was possible. I was careful to eat only nourishing food, and to have exercise and fresh air when I could get them. You see I knew that the work must be accomplished, and that if I were over-tired I could not do it well." The work, instead of fatiguing, had evidently refreshed her.

If that same woman had insisted, as many have in similar cases, that she had no time to think of herself; or if such care had seemed to her selfish, her work could not have been done as well, she would have ended it tired and jaded, and would have declared to sympathizing friends that it was "impossible to do a work like that without being all tired out," and the sympathizing friends would have agreed and thought her a heroine.

A well-known author, who had to support his wife and family while working for a start in his literary career, had a commercial position that occupied him every day from nine to five. He came home and dined at six, went to bed at seven, slept until three, when he got up, made himself a cup of coffee, and wrote until he breakfasted at eight. He got all the exercise he needed in walking to and from his outside work and was able to keep up this regular routine, with no loss of health, until he could support his family comfortably on what he earned from his pen. Then he returned to ordinary hours.

A brain once roused will take a man much farther than his strength; if this man had come home tired and allowed himself to write far into the night, and then, after a short sleep, had gone to the indispensable earning of his bread and butter, the chances are that his intellectual power would have decreased, until both publishers and author would have felt quite certain that he had no power at all.

The complacent words, "I cannot think of myself," or, "It is out of the question for me to care for myself," or any other of the various forms in which the same idea is expressed, come often from those who are steadily thinking of themselves, and, as a natural consequence, are so blinded that they cannot see the radical difference between unselfish care for one's self, as a means to an end, and the selfish care for one's self which has no other object in view.

The wholesome care is necessary to the best of all good work. The morbid care means steady decay for body and soul.

We should care for our bodies as a violinist cares for his instrument. It is the music that comes from his violin which he has in mind, and he is careful of his instrument because of its musical power. So we, with some sense of the possible power of a healthy body, should be careful to keep it fully supplied with fresh air; to keep it exercised and rested; to supply it with the quality and quantity of nourishment it needs; and to protect it from unnecessary exposure. When, through mistake or for any other reason, our bodies get out of order, instead of dwelling on our discomfort, we should take immediate steps to bring them back to a normal state.

If we learned to do this as a matter of course, as we keep our hands clean, even though we had to be conscious of our bodies for a short time while we were gaining the power, the normal care would lead to a happy unconsciousness. Carlyle says, and very truly, that we are conscious of no part of our bodies until it is out of order, and it certainly follows that the habit of keeping our bodies in order would lead us eventually to a physical freedom which, since our childhood, few of us have known. In the same way we can take care of our minds with a wholesome spirit. We can see to it that they are exercised to apply themselves well, that they are properly diverted, and know how to change, easily, from one kind of work to another. We can be careful not to attempt to sleep directly after severe mental work, but first to refresh our minds by turning our attention into entirely different channels in the way of exercise or amusement.

We must not allow our minds to be over-fatigued any more than our bodies, and we must learn how to keep them in a state of quiet readiness for whatever work or emergency may be before them.

There is also a kind of moral care which is quite in line with the care of the mind and the body, and which is a very material aid to these,--a way of refusing to be irritable, of gaining and maintaining cheerfulness, kindness, and thoughtfulness for others.