Chapter 24

THE FIRE-TENDER. Women are often ignorant of affairs, and, besides, they may have a notion often that a woman ought to be privileged more than a man in business matters; but I tell you, as a rule, that if men would consult their wives, they would go a deal straighter in business operations than they do go.

THE PARSON. We are all poor sinners. But I've another indictment against the women writers. We get no good old-fashioned love-stories from them. It's either a quarrel of discordant natures one a panther, and the other a polar bear--for courtship, until one of them is crippled by a railway accident; or a long wrangle of married life between two unpleasant people, who can neither live comfortably together nor apart. I suppose, by what I see, that sweet wooing, with all its torturing and delightful uncertainty, still goes on in the world; and I have no doubt that the majority of married people live more happily than the unmarried. But it's easier to find a dodo than a new and good love-story.

MANDEVILLE. I suppose the old style of plot is exhausted. Everything in man and outside of him has been turned over so often that I should think the novelists would cease simply from want of material.

THE PARSON. Plots are no more exhausted than men are. Every man is a new creation, and combinations are simply endless. Even if we did not have new material in the daily change of society, and there were only a fixed number of incidents and characters in life, invention could not be exhausted on them. I amuse myself sometimes with my kaleidoscope, but I can never reproduce a figure. No, no. I cannot say that you may not exhaust everything else: we may get all the secrets of a nature into a book by and by, but the novel is immortal, for it deals with men.

The Parson's vehemence came very near carrying him into a sermon; and as nobody has the privilege of replying to his sermons, so none of the circle made any reply now.

Our Next Door mumbled something about his hair standing on end, to hear a minister defending the novel; but it did not interrupt the general silence. Silence is unnoticed when people sit before a fire; it would be intolerable if they sat and looked at each other.

The wind had risen during the evening, and Mandeville remarked, as they rose to go, that it had a spring sound in it, but it was as cold as winter. The Mistress said she heard a bird that morning singing in the sun a spring song, it was a winter bird, but it sang.

SEVENTH STUDY

We have been much interested in what is called the Gothic revival. We have spent I don't know how many evenings in looking over Herbert's plans for a cottage, and have been amused with his vain efforts to cover with Gothic roofs the vast number of large rooms which the Young Lady draws in her sketch of a small house.

I have no doubt that the Gothic, which is capable of infinite modification, so that every house built in that style may be as different from every other house as one tree is from every other, can be adapted to our modern uses, and will be, when artists catch its spirit instead of merely copying its old forms. But just now we are taking the Gothic very literally, as we took the Greek at one time, or as we should probably have taken the Saracenic, if the Moors had not been colored. Not even the cholera is so contagious in this country as a style of architecture which we happen to catch; the country is just now broken out all over with the Mansard-roof epidemic.

And in secular architecture we do not study what is adapted to our climate any more than in ecclesiastic architecture we adopt that which is suited to our religion.

We are building a great many costly churches here and there, we Protestants, and as the most of them are ill adapted to our forms of worship, it may be necessary and best for us to change our religion in order to save our investments. I am aware that this would be a grave step, and we should not hasten to throw overboard Luther and the right of private judgment without reflection. And yet, if it is necessary to revive the ecclesiastical Gothic architecture, not in its spirit (that we nowhere do), but in the form which served another age and another faith, and if, as it appears, we have already a great deal of money invested in this reproduction, it may be more prudent to go forward than to go back. The question is, "Cannot one easier change his creed than his pew?"

I occupy a seat in church which is an admirable one for reflection, but I cannot see or hear much that is going on in what we like to call the apse. There is a splendid stone pillar, a clustered column, right in front of me, and I am as much protected from the minister as Old Put's troops were from the British, behind the stone wall at Bunker's Hill. I can hear his voice occasionally wandering round in the arches overhead, and I recognize the tone, because he is a friend of mine and an excellent man, but what he is saying I can very seldom make out. If there was any incense burning, I could smell it, and that would be something. I rather like the smell of incense, and it has its holy associations. But there is no smell in our church, except of bad air,--for there is no provision for ventilation in the splendid and costly edifice. The reproduction of the old Gothic is so complete that the builders even seem to have brought over the ancient air from one of the churches of the Middle Ages,--you would declare it had n't been changed in two centuries.

I am expected to fix my attention during the service upon one man, who stands in the centre of the apse and has a sounding-board behind him in order to throw his voice out of the sacred semicircular space (where the altar used to stand, but now the sounding-board takes the place of the altar) and scatter it over the congregation at large, and send it echoing up in the groined roof I always like to hear a minister who is unfamiliar with the house, and who has a loud voice, try to fill the edifice. The more he roars and gives himself with vehemence to the effort, the more the building roars in indistinguishable noise and hubbub. By the time he has said (to suppose a case), "The Lord is in his holy temple," and has passed on to say, "let all the earth keep silence," the building is repeating "The Lord is in his holy temple" from half a dozen different angles and altitudes, rolling it and growling it, and is not keeping silence at all. A man who understands it waits until the house has had its say, and has digested one passage, before he launches another into the vast, echoing spaces. I am expected, as I said, to fix my eye and mind on the minister, the central point of the service. But the pillar hides him. Now if there were several ministers in the church, dressed in such gorgeous colors that I could see them at the distance from the apse at which my limited income compels me to sit, and candles were burning, and censers were swinging, and the platform was full of the sacred bustle of a gorgeous ritual worship, and a bell rang to tell me the holy moments, I should not mind the pillar at all. I should sit there, like any other Goth, and enjoy it. But, as I have said, the pastor is a friend of mine, and I like to look at him on Sunday, and hear what he says, for he always says something worth hearing. I am on such terms with him, indeed we all are, that it would be pleasant to have the service of a little more social nature, and more human. When we put him away off in the apse, and set him up for a Goth, and then seat ourselves at a distance, scattered about among the pillars, the whole thing seems to me a trifle unnatural. Though I do not mean to say that the congregations do not "enjoy their religion" in their splendid edifices which cost so much money and are really so beautiful.

A good many people have the idea, so it seems, that Gothic architecture and Christianity are essentially one and the same thing. Just as many regard it as an act of piety to work an altar cloth or to cushion a pulpit. It may be, and it may not be.

Our Gothic church is likely to prove to us a valuable religious experience, bringing out many of the Christian virtues. It may have had its origin in pride, but it is all being overruled for our good. Of course I need n't explain that it is the thirteenth century ecclesiastic Gothic that is epidemic in this country; and I think it has attacked the Congregational and the other non-ritual churches more violently than any others. We have had it here in its most beautiful and dangerous forms. I believe we are pretty much all of us supplied with a Gothic church now. Such has been the enthusiasm in this devout direction, that I should not be surprised to see our rich private citizens putting up Gothic churches for their individual amusement and sanctification. As the day will probably come when every man in Hartford will live in his own mammoth, five-story granite insurance building, it may not be unreasonable to expect that every man will sport his own Gothic church. It is beginning to be discovered that the Gothic sort of church edifice is fatal to the Congregational style of worship that has been prevalent here in New England; but it will do nicely (as they say in Boston) for private devotion.

There isn't a finer or purer church than ours any where, inside and outside Gothic to the last. The elevation of the nave gives it even that "high-shouldered" appearance which seemed more than anything else to impress Mr. Hawthorne in the cathedral at Amiens. I fancy that for genuine high-shoulderness we are not exceeded by any church in the city. Our chapel in the rear is as Gothic as the rest of it, --a beautiful little edifice. The committee forgot to make any more provision for ventilating that than the church, and it takes a pretty well-seasoned Christian to stay in it long at a time. The Sunday-school is held there, and it is thought to be best to accustom the children to bad air before they go into the church. The poor little dears shouldn't have the wickedness and impurity of this world break on them too suddenly. If the stranger noticed any lack about our church, it would be that of a spire. There is a place for one; indeed, it was begun, and then the builders seem to have stopped, with the notion that it would grow itself from such a good root. It is a mistake however, to suppose that we do not know that the church has what the profane here call a "stump-tail" appearance. But the profane are as ignorant of history as they are of true Gothic. All the Old World cathedrals were the work of centuries. That at Milan is scarcely finished yet; the unfinished spires of the Cologne cathedral are one of the best-known features of it. I doubt if it would be in the Gothic spirit to finish a church at once. We can tell cavilers that we shall have a spire at the proper time, and not a minute before. It may depend a little upon what the Baptists do, who are to build near us. I, for one, think we had better wait and see how high the Baptist spire is before we run ours up. The church is everything that could be desired inside. There is the nave, with its lofty and beautiful arched ceiling; there are the side aisles, and two elegant rows of stone pillars, stained so as to be a perfect imitation of stucco; there is the apse, with its stained glass and exquisite lines; and there is an organ-loft over the front entrance, with a rose window. Nothing was wanting, so far as we could see, except that we should adapt ourselves to the circumstances; and that we have been trying to do ever since. It may be well to relate how we do it, for the benefit of other inchoate Goths.

It was found that if we put up the organ in the loft, it would hide the beautiful rose window. Besides, we wanted congregational singing, and if we hired a choir, and hung it up there under the roof, like a cage of birds, we should not have congregational singing. We therefore left the organ-loft vacant, making no further use of it than to satisfy our Gothic cravings. As for choir,--several of the singers of the church volunteered to sit together in the front side-seats, and as there was no place for an organ, they gallantly rallied round a melodeon,--or perhaps it is a cabinet organ,--a charming instrument, and, as everybody knows, entirely in keeping with the pillars, arches, and great spaces of a real Gothic edifice. It is the union of simplicity with grandeur, for which we have all been looking. I need not say to those who have ever heard a melodeon, that there is nothing like it. It is rare, even in the finest churches on the Continent. And we had congregational singing. And it went very well indeed. One of the advantages of pure congregational singing, is that you can join in the singing whether you have a voice or not. The disadvantage is, that your neighbor can do the same. It is strange what an uncommonly poor lot of voices there is, even among good people. But we enjoy it. If you do not enjoy it, you can change your seat until you get among a good lot.

So far, everything went well. But it was next discovered that it was difficult to hear the minister, who had a very handsome little desk in the apse, somewhat distant from the bulk of the congregation; still, we could most of us see him on a clear day. The church was admirably built for echoes, and the centre of the house was very favorable to them. When you sat in the centre of the house, it sometimes seemed as if three or four ministers were speaking.

It is usually so in cathedrals; the Right Reverend So-and-So is assisted by the very Reverend Such-and-Such, and the good deal Reverend Thus-and-Thus, and so on. But a good deal of the minister's voice appeared to go up into the groined arches, and, as there was no one up there, some of his best things were lost. We also had a notion that some of it went into the cavernous organ-loft. It would have been all right if there had been a choir there, for choirs usually need more preaching, and pay less heed to it, than any other part of the congregation. Well, we drew a sort of screen over the organ-loft; but the result was not as marked as we had hoped. We next devised a sounding-board,--a sort of mammoth clamshell, painted white,--and erected it behind the minister. It had a good effect on the minister. It kept him up straight to his work. So long as he kept his head exactly in the focus, his voice went out and did not return to him; but if he moved either way, he was assailed by a Babel of clamoring echoes. There was no opportunity for him to splurge about from side to side of the pulpit, as some do. And if he raised his voice much, or attempted any extra flights, he was liable to be drowned in a refluent sea of his own eloquence. And he could hear the congregation as well as they could hear him. All the coughs, whispers, noises, were gathered in the wooden tympanum behind him, and poured into his ears.

But the sounding-board was an improvement, and we advanced to bolder measures; having heard a little, we wanted to hear more. Besides, those who sat in front began to be discontented with the melodeon. There are depths in music which the melodeon, even when it is called a cabinet organ, with a colored boy at the bellows, cannot sound. The melodeon was not, originally, designed for the Gothic worship. We determined to have an organ, and we speculated whether, by erecting it in the apse, we could not fill up that elegant portion of the church, and compel the preacher's voice to leave it, and go out over the pews. It would of course do something to efface the main beauty of a Gothic church; but something must be done, and we began a series of experiments to test the probable effects of putting the organ and choir behind the minister. We moved the desk to the very front of the platform, and erected behind it a high, square board screen, like a section of tight fence round the fair-grounds. This did help matters. The minister spoke with more ease, and we could hear him better. If the screen had been intended to stay there, we should have agitated the subject of painting it. But this was only an experiment.

Our next move was to shove the screen back and mount the volunteer singers, melodeon and all, upon the platform,--some twenty of them crowded together behind the minister. The effect was beautiful. It seemed as if we had taken care to select the finest-looking people in the congregation,--much to the injury of the congregation, of course, as seen from the platform. There are few congregations that can stand this sort of culling, though ours can endure it as well as any; yet it devolves upon those of us who remain the responsibility of looking as well as we can.

The experiment was a success, so far as appearances went, but when the screen went back, the minister's voice went back with it. We could not hear him very well, though we could hear the choir as plain as day. We have thought of remedying this last defect by putting the high screen in front of the singers, and close to the minister, as it was before. This would make the singers invisible,--"though lost to sight, to memory dear,"--what is sometimes called an "angel choir," when the singers (and the melodeon) are concealed, with the most subdued and religious effect. It is often so in cathedrals.

This plan would have another advantage. The singers on the platform, all handsome and well dressed, distract our attention from the minister, and what he is saying. We cannot help looking at them, studying all the faces and all the dresses. If one of them sits up very straight, he is a rebuke to us; if he "lops" over, we wonder why he does n't sit up; if his hair is white, we wonder whether it is age or family peculiarity; if he yawns, we want to yawn; if he takes up a hymn-book, we wonder if he is uninterested in the sermon; we look at the bonnets, and query if that is the latest spring style, or whether we are to look for another; if he shaves close, we wonder why he doesn't let his beard grow; if he has long whiskers, we wonder why he does n't trim 'em; if she sighs, we feel sorry; if she smiles, we would like to know what it is about. And, then, suppose any of the singers should ever want to eat fennel, or peppermints, or Brown's troches, and pass them round! Suppose the singers, more or less of them, should sneeze!

Suppose one or two of them, as the handsomest people sometimes will, should go to sleep! In short, the singers there take away all our attention from the minister, and would do so if they were the homeliest people in the world. We must try something else.

It is needless to explain that a Gothic religious life is not an idle one.

EIGHTH STUDY

I

Perhaps the clothes question is exhausted, philosophically. I cannot but regret that the Poet of the Breakfast-Table, who appears to have an uncontrollable penchant for saying the things you would like to say yourself, has alluded to the anachronism of "Sir Coeur de Lion Plantagenet in the mutton-chop whiskers and the plain gray suit."

A great many scribblers have felt the disadvantage of writing after Montaigne; and it is impossible to tell how much originality in others Dr. Holmes has destroyed in this country. In whist there are some men you always prefer to have on your left hand, and I take it that this intuitive essayist, who is so alert to seize the few remaining unappropriated ideas and analogies in the world, is one of them.

No doubt if the Plantagenets of this day were required to dress in a suit of chain-armor and wear iron pots on their heads, they would be as ridiculous as most tragedy actors on the stage. The pit which recognizes Snooks in his tin breastplate and helmet laughs at him, and Snooks himself feels like a sheep; and when the great tragedian comes on, shining in mail, dragging a two-handed sword, and mouths the grandiloquence which poets have put into the speech of heroes, the dress-circle requires all its good-breeding and its feigned love of the traditionary drama not to titter.

If this sort of acting, which is supposed to have come down to us from the Elizabethan age, and which culminated in the school of the Keans, Kembles, and Siddonses, ever had any fidelity to life, it must have been in a society as artificial as the prose of Sir Philip Sidney. That anybody ever believed in it is difficult to think, especially when we read what privileges the fine beaux and gallants of the town took behind the scenes and on the stage in the golden days of the drama. When a part of the audience sat on the stage, and gentlemen lounged or reeled across it in the midst of a play, to speak to acquaintances in the audience, the illusion could not have been very strong.

Now and then a genius, like Rachel as Horatia, or Hackett as Falstaff, may actually seem to be the character assumed by virtue of a transforming imagination, but I suppose the fact to be that getting into a costume, absurdly antiquated and remote from all the habits and associations of the actor, largely accounts for the incongruity and ridiculousness of most of our modern acting. Whether what is called the "legitimate drama" ever was legitimate we do not know, but the advocates of it appear to think that the theatre was some time cast in a mould, once for all, and is good for all times and peoples, like the propositions of Euclid. To our eyes the legitimate drama of to-day is the one in which the day is reflected, both in costume and speech, and which touches the affections, the passions, the humor, of the present time. The brilliant success of the few good plays that have been written out of the rich life which we now live--the most varied, fruitful, and dramatically suggestive--ought to rid us forever of the buskin-fustian, except as a pantomimic or spectacular curiosity.

We have no objection to Julius Caesar or Richard III. stalking about in impossible clothes, and stepping four feet at a stride, if they want to, but let them not claim to be more "legitimate" than "Ours" or "Rip Van Winkle." There will probably be some orator for years and years to come, at every Fourth of July, who will go on asking, Where is Thebes? but he does not care anything about it, and he does not really expect an answer. I have sometimes wished I knew the exact site of Thebes, so that I could rise in the audience, and stop that question, at any rate. It is legitimate, but it is tiresome.

If we went to the bottom of this subject, I think we should find that the putting upon actors clothes to which they are unaccustomed makes them act and talk artificially, and often in a manner intolerable.

An actor who has not the habits or instincts of a gentleman cannot be made to appear like one on the stage by dress; he only caricatures and discredits what he tries to represent; and the unaccustomed clothes and situation make him much more unnatural and insufferable than he would otherwise be. Dressed appropriately for parts for which he is fitted, he will act well enough, probably. What I mean is, that the clothes inappropriate to the man make the incongruity of him and his part more apparent. Vulgarity is never so conspicuous as in fine apparel, on or off the stage, and never so self-conscious. Shall we have, then, no refined characters on the stage? Yes; but let them be taken by men and women of taste and refinement and let us have done with this masquerading in false raiment, ancient and modern, which makes nearly every stage a travesty of nature and the whole theatre a painful pretension. We do not expect the modern theatre to be a place of instruction (that business is now turned over to the telegraphic operator, who is making a new language), but it may give amusement instead of torture, and do a little in satirizing folly and kindling love of home and country by the way.