Eugene Field, a Study in Heredity and Contradictions Volume II Part 18

I favor early marriage.

I do not love all children.

I have tried to a.n.a.lyze my feelings toward children, and I think I discover that I love them, in so far as I can make pets of them.

I believe that, if I live, I shall do my best literary work when I am a grandfather.

So cleverly are truth and fiction dove-tailed together in this "Auto-a.n.a.lysis" that it would puzzle a jury of his intimate friends to say where Field was attempting to state facts and where he was laughing in his sleeve. Even the enumeration of his publications is amazingly inaccurate for a bibliomaniac's reply to the inquiries of his own guild. Francis Wilson's sumptuous edition of "Echoes from the Sabine Farm" preceded that of McClurg, Chicago, 1893, by more than two years, and a limited edition of the "Second Book of Verse" was published privately by Melville E. Stone, Chicago, 1892, more than a year before it was published by the Scribners, as stated in Field's chronological order.

Under ordinary circ.u.mstances such lapses in a list of a writer's published works would be a venial fault, and not worth mentioning; but in the case of one who set such store on "special large paper limited editions," they would be inexplicable-if that writer had not been Eugene Field. With him they were simply a notification to his intimates that the whole thing was not to be taken as a serious bibliology of his works or index of his character.

So far as the cyclopedic narrative of his life is concerned, it is intended to be fairly accurate; but Field's notion that he suddenly began to write verse very frequently in 1889 runs contrary to the record in Denver and Chicago from 1881 to 1888, inclusive. The intentional waggery of misinformation masquerading as truth begins where Field leaves the recital of his life to give what purports to be an a.n.a.lysis of his character and sentiments. Here he lets his "winged fancy loose." He mingles fact with his fiction even as

The instruments of darkness tell us truths; Win us with honest trifles, to betray's In deepest consequence.

Not that Field had any deep design to betray anyone lurking behind the fict.i.tious and facetious candor of this apparent self-revelation. This "Auto-a.n.a.lysis" was written in response to the almost innumerable questions which, about that time, were being propounded in the newspapers and on the leaves of sentiment autograph alb.u.ms. Hence the forms of Field's replies. For instance, to "What is your favorite flower?" he answered, "My favorite flower is the carnation;"-and with utter irrelevancy, added-"and I adore dolls!" Now Field was not particularly fond of flowers, and if he had a favorite, it was the rose, the pansy, or the violet.

Of his three favorites in fiction "Don Quixote" is the only one to which he gave a second thought, although early familiarity with "Pilgrim's Progress" undoubtedly left its impression on his retentive memory. A more truthful answer would have been "The New England Primer," "The Complete Angler," and Father Prout. To another inquirer he said, "My favorite authors of prose are Cervantes, Hawthorne, Andersen, Sir Thomas Mallory," a very much more accurate statement. His love for the fairy-tales of Andersen and Grimm survived from the knee of his little Mormon nurse to the last tale he wrote; but his belief in ghosts, witches, and fairies was all in his literary mind's eye. He took the same delight in employing them in his works as he did flim-flams, flub-dubs, and catamarans. They were a part of his stock in trade, just as wooden animals were of Caleb Plummer's toy-shop. I think Field cherished a genuine admiration for Abraham Lincoln, whose whole life, nature, personal appearance, unaffected greatness, manner of speech, and fate appealed to his idea of what "the first American" should be. But strike the names of Newman, Horace, old man Poggio, Walter Scott, and Hans Andersen from the list of his favorites that follow the name of Lincoln, and it gains in truth as it shrinks in length.

Upon the question of extending the right to vote to women, Field wasted no more thought than he did on "Politics," whether so called or not. This was a springe to catch the "wimmen folks, G.o.d bless them." He seldom took the trouble to vote himself, and ridiculed the idea of women demeaning themselves to enter the dirty strife for public office-as he regarded the beginning, middle, and end of all politics.

Field had the strongest possible aversion to violence or brutality of any kind. He considered capital punishment as barbarous. He was not opposed to it because he regarded it as inaffective as a punishment or a deterrent of crime, but simply because taking life, and especially human life, was abhorrent to him. Hence his "hatred" of wars, armies, soldiers, and guns.

Something more than a paragraph is needed to explain that word "limited" after Field's declaration "I like music." "Like" is a feeble word in this connection, and "limited" by his sense of the absurdity of reducing its enjoyment to an intellectual pursuit. He loved the music that appealed to the heart, the mind, the emotions through the ear. But for years he scoffed at and ridiculed the attempt to convey by the "harmony of sweet sounds" or alternating discords impressions or sentiments of things than can only be comprehended through the eye. He loved both vocal and instrumental music, and was a constant attendant on opera and concert.

I have a unique doc.u.mentary proof of Eugene Field's taste in music. Written on the folded back of a sheet of foolscap, which, on its face, preserves his original ma.n.u.script of "A Noon Tide Hymn," are three suggestions for the "request programmes" with which Theodore Thomas used to vary his concerts in the old Exposition Building in Chicago. Field seldom missed these concerts, and he always made a point of forwarding his choice for the next "request night." This one was as follows:

1. Invitation to Dance Weber 2. Spring Song Mendelssohn 3. Largho Handel 4. Rhapsody Hongroise(2) Liszt

1. Vorspiel Lohengrin 2. Waltz movement Volkman 3. Serenade Schubert 4. Ride of Walkures

1. Sylvia 2.

3. Ave Maria Introd. Bach-Gounod 4. Nap. March. Wagner The only limitation to a liking for music such as is revealed here is that it be good music. Mr. Thomas in those days scarcely ever made up a programme without including in it one of Field's favorites.

Referring to music recalls the fact that Field once seriously contemplated writing a comic opera; and he only failed to carry out his purpose because he could not get the dialogue to suit him; moreover, he realized that he had but a limited grasp of the dramatic action and situations necessary in such work. How completely he had this work mapped out may be judged from the following memoranda, the ma.n.u.script of which is before me:

THE BUCCANEERS

Fernando, the Begum-ba.s.so.

Paquita, his daughter-soprano.

Christopher, the buccaneer-baritone.

Mercedes, his sister-contralto.

Carlos, a Peruvian lieutenant-tenor.

Gonzales, Begum of Ohnos.

Buccaneers, maidens, ballet, servants, etc.

Time of action-three days, 1860.

Scenes: First and third acts, in garden adjoining Fernando's mansion, suburbs of Piura.

Second act, on board the ship "Perdita," port of Payla.

FIRST ACT

Fernando, the Begum, is about to give a moonlight fete in honor of his daughter's betrothal to Carlos. The young people are not particularly overjoyed at the prospect of their union, Carlos having given his heart, some years previously, to Mercedes, who is now married to a captain in the Chilian army, and Paquita having fallen desperately in love with a handsome young stranger whom she has, upon several occasions, met upon the sea-sh.o.r.e. This stranger is Christopher, who, for his partic.i.p.ation in a petty revolt, has been declared an outlaw, and has taken to the life of a buccaneer, joined by numerous lively companions. Overcome by love of Paquita, Christopher manages to get himself and his band introduced at the fete, and in the midst of the festivities the young women are seized and carried aboard the buccaneers' ship.

SECOND ACT

Carlos, who has been taken prisoner with the girls, discovers that Mercedes, the buccaneer captain's sister, is his old fiancee, and is now a widow; explanations ensue and a reconciliation takes place. While debating how they shall advise Paquita of the truth, they overhear a conversation between Christopher and Paquita. Paquita declares that if Christopher really loves her, he will come and woo her as an honorable man should. Christopher is about to release the captives, when Mercedes suggests, that to ensure the safety of the buccaneers Carlos be detained as a hostage. Carlos indorses the suggestion. The young ladies are permitted to go ash.o.r.e.

THIRD ACT

While Fernando storms over the retention of Carlos, Paquita sadly broods over her love for Christopher. As she soliloquizes at her window Christopher appears. He cannot remain away from the object of his love. A scene ensues between the two. In the meantime Carlos and Mercedes have secretly stolen from the ship and been married by the village priest. They appear while Paquita and Christopher are conversing. (Quartette.) Fernando hears the commotion. (Quintette.) Christopher is discovered and apprehended. The buccaneers appear to rescue their long-absent captain. Explanations. Fernando informs the buccaneers that under the amnesty act of the king they are no longer outlaws. Christopher's estates await him. Carlos and Mercedes appear. Fernando gives Paquita to Christopher.

It will be perceived that the spirited action of this "argument," as Field styled it, practically ends with the first act, a fault which the veriest neophyte in the art of libretto writing knows is fatal. But the most interesting feature of this opera in embryo is the list of songs which Field had planned for it. They were:

SONGS

"Begum of Piura."

"The Crazy Quilt."

"My Life is One Continuous Lie."

"By Day Upon the Billowy Sea."

Lullaby-"Do Not Wake the Baby."

"The Good Old Way."

Barcarolle-"I've Come Across the Water."

TRIO

"He Really Does Not Seem to Know."

DUETS

"My Love Was Fair."

"To the Sea, O Love!"

"O Dearest Love, Through all the Years."

"Into G.o.d's Hands."

FEMALE CHORUS

"Down the Forest Pathway."

MALE CHORUS

"From the Farms."

"We are a Band of Gallant Tars."

MIXED CHORUS

"Hail, O Happy Nuptial Day!"

"Ah!"

"Where Turtle Doves are Cooing."

"The Spanish Dance."

"They're Delightful."

"Oh, Can Such Wonders Be?"

"How Sweet to Fly."

"He Really Must Be Ailing."