There are one or two things she has got to say to him.He is not at all the man she approves of.He must begin by getting rid of all his natural desires and propensities; that done, she will take him in hand and make of him--not a man, but something very much superior.
It would be the best of all possible worlds if everybody would only follow our advice.I wonder, would Jerusalem have been the cleanly city it is reported, if, instead of troubling himself concerning his own twopenny-halfpenny doorstep, each citizen had gone out into the road and given eloquent lectures to all the other inhabitants on the subject of sanitation?
We have taken to criticizing the Creator Himself of late.The world is wrong, we are wrong.If only He had taken our advice, during those first six days!
Why do I seem to have been scooped out and filled up with lead? Why do I hate the smell of bacon, and feel that nobody cares for me? It is because champagne and lobsters have been made wrong.
Why do Edwin and Angelina quarrel? It is because Edwin has been given a fine, high-spirited nature that will not brook contradiction; while Angelina, poor girl, has been cursed with contradictory instincts.
Why is excellent Mr.Jones brought down next door to beggary? Mr.
Jones had an income of a thousand a year, secured by the Funds.But there came along a wicked Company promoter (why are wicked Company promoters permitted?) with a prospectus, telling good Mr.Jones how to obtain a hundred per cent.for his money by investing it in some scheme for the swindling of Mr.Jones's fellow-citizens.
The scheme does not succeed; the people swindled turn out, contrary to the promise of the prospectus, to be Mr.Jones and his fellow-investors.Why does Heaven allow these wrongs?
Why does Mrs.Brown leave her husband and children, to run off with the New Doctor? It is because an ill-advised Creator has given Mrs.
Brown and the New Doctor unduly strong emotions.Neither Mrs.Brown nor the New Doctor are to be blamed.If any human being be answerable it is, probably, Mrs.Brown's grandfather, or some early ancestor of the New Doctor's.
We shall criticize Heaven when we get there.I doubt if any of us will be pleased with the arrangements; we have grown so exceedingly critical.
It was once said of a very superior young man that he seemed to be under the impression that God Almighty had made the universe chiefly to hear what he would say about it.Consciously or unconsciously, most of us are of this way of thinking.It is an age of mutual improvement societies--a delightful idea, everybody's business being to improve everybody else; of amateur parliaments, of literary councils, of playgoers' clubs.
First Night criticism seems to have died out of late, the Student of the Drama having come to the conclusion, possibly, that plays are not worth criticizing.But in my young days we were very earnest at this work.We went to the play, less with the selfish desire of enjoying our evening, than with the noble aim of elevating the Stage.Maybe we did good, maybe we were needed--let us think so.
Certain it is, many of the old absurdities have disappeared from the Theatre, and our rough-and-ready criticism may have helped the happy dispatch.A folly is often served by an unwise remedy.
The dramatist in those days had to reckon with his audience.
Gallery and Pit took an interest in his work such as Galleries and Pits no longer take.I recollect witnessing the production of a very blood-curdling melodrama at, I think, the old Queen's Theatre.
The heroine had been given by the author a quite unnecessary amount of conversation, so we considered.The woman, whenever she appeared on the stage, talked by the yard; she could not do a simple little thing like cursing the Villain under about twenty lines.When the hero asked her if she loved him she stood up and made a speech about it that lasted three minutes by the watch.One dreaded to see her open her mouth.In the Third Act, somebody got hold of her and shut her up in a dungeon.He was not a nice man, speaking generally, but we felt he was the man for the situation, and the house cheered him to the echo.We flattered ourselves we had got rid of her for the rest of the evening.Then some fool of a turnkey came along, and she appealed to him, through the grating, to let her out for a few minutes.The turnkey, a good but soft-hearted man, hesitated.
"Don't you do it," shouted one earnest Student of the Drama, from the Gallery; "she's all right.Keep her there!"The old idiot paid no attention to our advice; he argued the matter to himself."'Tis but a trifling request," he remarked; "and it will make her happy.""Yes, but what about us?" replied the same voice from the Gallery.
"You don't know her.You've only just come on; we've been listening to her all the evening.She's quiet now, you let her be.""Oh, let me out, if only for one moment!" shrieked the poor woman.
"I have something that I must say to my child.""Write it on a bit of paper, and pass it out," suggested a voice from the Pit."We'll see that he gets it.""Shall I keep a mother from her dying child?" mused the turnkey.
"No, it would be inhuman."
"No, it wouldn't," persisted the voice of the Pit; "not in this instance.It's too much talk that has made the poor child ill."The turnkey would not be guided by us.He opened the cell door amidst the execrations of the whole house.She talked to her child for about five minutes, at the end of which time it died.
"Ah, he is dead!" shrieked the distressed parent.
"Lucky beggar!" was the unsympathetic rejoinder of the house.
Sometimes the criticism of the audience would take the form of remarks, addressed by one gentleman to another.We had been listening one night to a play in which action seemed to be unnecessarily subordinated to dialogue, and somewhat poor dialogue at that.Suddenly, across the wearying talk from the stage, came the stentorian whisper--"Jim!"
"Hallo!"
"Wake me up when the play begins."
