Literary Lapses Part 16
After all, never mind.
Provided they are happy up there, let them stay.
Personally, I wouldn't mind if they didn't come back and lie about it. They get back to the city dead f.a.gged for want of sleep, sogged with alcohol, bitten brown by the bush-flies, trampled on by the moose and chased through the brush by bears and skunks-and they have the nerve to say that they like it.
Sometimes I think they do.
Men are only animals anyway. They like to get out into the woods and growl round at night and feel something bite them.
Only why haven't they the imagination to be able to do the same thing with less fuss? Why not take their coats and collars off in the office and crawl round on the floor and growl at one another. It would be just as good.
Reflections on Riding
The writing of this paper has been inspired by a debate recently held at the literary society of my native town on the question, "Resolved: that the bicycle is a n.o.bler animal than the horse." In order to speak for the negative with proper authority, I have spent some weeks in completely addicting myself to the use of the horse. I find that the difference between the horse and the bicycle is greater than I had supposed.
The horse is entirely covered with hair; the bicycle is not entirely covered with hair, except the '89 model they are using in Idaho.
In riding a horse the performer finds that the pedals in which he puts his feet will not allow of a good circular stroke. He will observe, however, that there is a saddle in which-especially while the horse is trotting-he is expected to seat himself from time to time. But it is simpler to ride standing up, with the feet in the pedals.
There are no handles to a horse, but the 1910 model has a string to each side of its face for turning its head when there is anything you want it to see.
Coasting on a good horse is superb, but should be under control. I have known a horse to suddenly begin to coast with me about two miles from home, coast down the main street of my native town at a terrific rate, and finally coast through a plantoon of the Salvation Army into its livery stable.
I cannot honestly deny that it takes a good deal of physical courage to ride a horse. This, however, I have. I get it at about forty cents a flask, and take it as required.
I find that in riding a horse up the long street of a country town, it is not well to proceed at a trot. It excites unkindly comment. It is better to let the horse walk the whole distance. This may be made to seem natural by turning half round in the saddle with the hand on the horse's back, and gazing intently about two miles up the road. It then appears that you are the first in of about fourteen men.
Since learning to ride, I have taken to noticing the things that people do on horseback in books. Some of these I can manage, but most of them are entirely beyond me. Here, for instance, is a form of equestrian performance that every reader will recognize and for which I have only a despairing admiration:
"With a hasty gesture of farewell, the rider set spurs to his horse and disappeared in a cloud of dust."
With a little practice in the matter of adjustment, I think I could set spurs to any size of horse, but I could never disappear in a cloud of dust-at least, not with any guarantee of remaining disappeared when the dust cleared away.
Here, however, is one that I certainly can do:
"The bridle-rein dropped from Lord Everard's listless hand, and, with his head bowed upon his bosom, he suffered his horse to move at a foot's pace up the sombre avenue. Deep in thought, he heeded not the movement of the steed which bore him."
That is, he looked as if he didn't; but in my case Lord Everard has his eye on the steed pretty closely, just the same.
This next I am doubtful about:
"To horse! to horse!" cried the knight, and leaped into the saddle.
I think I could manage it if it read:
"To horse!" cried the knight, and, s.n.a.t.c.hing a step-ladder from the hands of his trusty attendant, he rushed into the saddle.
As a concluding remark, I may mention that my experience of riding has thrown a very interesting sidelight upon a rather puzzling point in history. It is recorded of the famous Henry the Second that he was "almost constantly in the saddle, and of so restless a disposition that he never sat down, even at meals." I had hitherto been unable to understand Henry's idea about his meals, but I think I can appreciate it now.
Saloonio
A STUDY IN SHAKESPEAREAN CRITICISM
They say that young men fresh from college are pretty positive about what they know. But from my own experience of life, I should say that if you take a comfortable, elderly man who hasn't been near a college for about twenty years, who has been pretty liberally fed and dined ever since, who measures about fifty inches around the circ.u.mference, and has a complexion like a cranberry by candlelight, you will find that there is a degree of absolute certainty about what he thinks he knows that will put any young man to shame. I am specially convinced of this from the case of my friend Colonel Hogshead, a portly, choleric gentleman who made a fortune in the cattle-trade out in Wyoming, and who, in his later days, has acquired a chronic idea that the plays of Shakespeare are the one subject upon which he is most qualified to speak personally.
He came across me the other evening as I was sitting by the fire in the club sitting-room looking over the leaves of The Merchant of Venice, and began to hold forth to me about the book.
"Merchant of Venice, eh? There's a play for you, sir! There's genius! Wonderful, sir, wonderful! You take the characters in that play and where will you find anything like them? You take Antonio, take Sherlock, take Saloonio-"
"Saloonio, Colonel?" I interposed mildly, "aren't you making a mistake? There's a Ba.s.sanio and a Salanio in the play, but I don't think there's any Saloonio, is there?"
For a moment Colonel Hogshead's eye became misty with doubt, but he was not the man to admit himself in error:
"Tut, tut! young man," he said with a frown, "don't skim through your books in that way. No Saloonio? Why, of course there's a Saloonio!"
"But I tell you, Colonel," I rejoined, "I've just been reading the play and studying it, and I know there's no such character-"
"Nonsense, sir, nonsense!" said the Colonel, "why he comes in all through; don't tell me, young man, I've read that play myself. Yes, and seen it played, too, out in Wyoming, before you were born, by fellers, sir, that could act. No Saloonio, indeed! why, who is it that is Antonio's friend all through and won't leave him when Ba.s.soonio turns against him? Who rescues Clarissa from Sherlock, and steals the casket of flesh from the Prince of Aragon? Who shouts at the Prince of Morocco, 'Out, out, you d.a.m.ned candlestick'? Who loads up the jury in the trial scene and fixes the doge? No Saloonio! By gad! in my opinion, he's the most important character in the play-"
"Colonel Hogshead," I said very firmly, "there isn't any Saloonio and you know it."
But the old man had got fairly started on whatever dim recollection had given birth to Saloonio; the character seemed to grow more and more luminous in the Colonel's mind, and he continued with increasing animation:
"I'll just tell you what Saloonio is: he's a type.
Shakespeare means him to embody the type of the perfect Italian gentleman. He's an idea, that's what he is, he's a symbol, he's a unit-"
Meanwhile I had been searching among the leaves of the play. "Look here," I said, "here's the list of the Dramatis Personae. There's no Saloonio there."
But this didn't dismay the Colonel one atom. "Why, of course there isn't," he said. "You don't suppose you'd find Saloonio there! That's the whole art of it! That's Shakespeare! That's the whole gist of it! He's kept clean out of the Personae-gives him scope, gives him a free hand, makes him more of a type than ever. Oh, it's a subtle thing, sir, the dramatic art!" continued the Colonel, subsiding into quiet reflection; "it takes a feller quite a time to get right into Shakespeare's mind and see what he's at all the time."
I began to see that there was no use in arguing any further with the old man. I left him with the idea that the lapse of a little time would soften his views on Saloonio. But I had not reckoned on the way in which old men hang on to a thing. Colonel Hogshead quite took up Saloonio. From that time on Saloonio became the theme of his constant conversation. He was never tired of discussing the character of Saloonio, the wonderful art of the dramatist in creating him, Saloonio's relation to modern life, Saloonio's att.i.tude toward women, the ethical significance of Saloonio, Saloonio as compared with Hamlet, Hamlet as compared with Saloonio-and so on, endlessly. And the more he looked into Saloonio, the more he saw in him.
Saloonio seemed inexhaustible. There were new sides to him-new phases at every turn. The Colonel even read over the play, and finding no mention of Saloonio's name in it, he swore that the books were not the same books they had had out in Wyoming; that the whole part had been cut clean out to suit the book to the infernal public schools, Saloonio's language being-at any rate, as the Colonel quoted it-undoubtedly a trifle free. Then the Colonel took to annotating his book at the side with such remarks as, "Enter Saloonio," or "A tucket sounds; enter Saloonio, on the arm of the Prince of Morocco." When there was no reasonable excuse for bringing Saloonio on the stage the Colonel swore that he was concealed behind the arras, or feasting within with the doge.
But he got satisfaction at last. He had found that there was n.o.body in our part of the country who knew how to put a play of Shakespeare on the stage, and took a trip to New York to see Sir Henry Irving and Miss Terry do the play. The Colonel sat and listened all through with his face just beaming with satisfaction, and when the curtain fell at the close of Irving's grand presentation of the play, he stood up in his seat, and cheered and yelled to his friends: "That's it! That's him! Didn't you see that man that came on the stage all the time and sort of put the whole play through, though you couldn't understand a word he said? Well, that's him! That's Saloonio!"
Half-hours with the Poets
I.-MR. WORDSWORTH AND THE LITTLE COTTAGE GIRL.
"I met a little cottage girl, She was eight years old she said, Her hair was thick with many a curl That cl.u.s.tered round her head."
WORDSWORTH.
This is what really happened.
Over the dreary downs of his native c.u.mberland the aged laureate was wandering with bowed head and countenance of sorrow.
Times were bad with the old man.
In the south pocket of his trousers, as he set his face to the north, jingled but a few odd coins and a cheque for St. Leon water. Apparently his cup of bitterness was full.