Modern Eloquence Volume Ii Part 8

JOHN GILBERT

PLAYING "OLD MEN" PARTS

[Speech of John Gilbert at a banquet given by the Lotos Club in recognition of the fiftieth anniversary of his first appearance on the stage, New York City, November 30, 1878. The chairman of the dinner was Whitelaw Reid, President of the Lotos.]

"CaeSAR, WE WHO ARE ABOUT TO DIE SALUTE YOU." Such the gladiator's cry in the arena standing face to face with death. There is a certain appositeness in the words I have just uttered that probably may correspond to my position. Understand me, I do not mean to die theatrically at present. [Laughter.] But when a man has arrived at my age, he can scarcely look forward to very many years of professional exertion. When my old friend, John Brougham [Mr. Brougham:--"I am not going to die just yet."] [laughter], announced to me the honor that the Lotos Club proffered me, I was flattered and complimented. But I said: "John, you know I am no speechmaker." He replied, "Say anything."

"Anything," I said, "anything won't do." "Then," said he, "repeat the first speech of Sir Peter Teazle, 'When an old bachelor marries a young wife, what is he to expect?'" [Laughter.] Well, I think I can paraphrase that and say, "When a young man enters the theatrical profession, what is he to expect?" Well, he may expect a good many things that are never realized. However, suffice it to say that fifty years ago I made my debut as an actor in my native city of Boston. I commenced in the first-cla.s.s character of Jaffier in Otway's charming tragedy of "Venice Preserved." The public said it was a success, and I thought it was.

[Laughter.] The manager evidently thought it was, too, for he let me repeat the character. Well, I suppose it was a success for a young man with such aspirations as I had. There might have been some inspiration about it--at least there ought to have been--for the lady who personated Belvidera was Mrs. Duff, a lovely woman and the most exquisite tragic actress that I ever saw from that period to the present.

After this, I acted two or three parts, Mortimer, Shylock, and some of those little, trifling characters [laughter], with comparative success.

But shortly after, and wisely, I went into the ranks to study my profession--not to commence at the top and go to the bottom [laughter]--but to begin at the bottom and go to the top, if possible.

As a young man, I sought for pastures fresh and new. I went to the South and West, my ambition still being, as is that of all youthful aspirants for dramatic honors, for tragedy. At last I went to a theatre, and to my great disgust and indignation I was cast for an old man--at the age of nineteen. [Laughter.] However, I must do it. There was no alternative and I did it. I received applause. I played a few more old men [laughter]; I found at last that it was my point, my forte, and I followed it up and after this long lapse of years, I still continue in that department. I went to England and was received with kindness and cordiality and, returning to my own country in 1862, I was invited to join Wallack's Theatre by the father of my dear friend here [alluding to Mr. Lester Wallack], his father whom I am proud to acknowledge as a friend of mine nearly fifty years ago, and I am also proud to say my dramatic master. [Applause.] I need not tell you that since that time I have been under the direction of his son. What my career has been up to the present time you all know. It requires no comment from me. I am no longer a young man, but I do not think I am an old man. [Applause and laughter.] I owe this to a good const.i.tution and moderately prudent life. [Shouts of laughter.] I may say with Shakespeare's Adam, that

"In my youth I never did apply Hot and rebellious liquors in my blood, Therefore my age is as a l.u.s.ty winter, Frosty, but kindly."

Will you permit me, gentlemen, to thank you for the very high honor you have conferred upon me this evening and allow me to drink the health and prosperity and happiness of the Lotos Club? [Cheers.]

WILLIAM SCHWENK GILBERT

PINAFORE

[Speech of William S. Gilbert at a dinner given to him and to Sir Arthur Sullivan by the Lotos Club, New York City, November 8, 1879. Whitelaw Reid, the President, in introducing Mr. Gilbert and Mr. Sullivan, said: "We do not welcome them as men of genius. It sometimes happens that men of genius do not deserve welcome. But we do greet them as men who have used their undoubted genius to increase the happiness of their kind [applause]; men whose success has extended throughout the nations and has added bright hours to the life of every man and woman it has touched. [Applause.] That success has depended on no unworthy means. Respecting themselves and their art, they have always respected their audiences. They have so married wit and humor, and a most delicate fancy, and the best light music of the time, to the public temper, that we have seen here in New York, for example, their piece so popular that we hadn't theatres enough in town to hold the people who simultaneously and unanimously wanted to hear it. I propose first the health of a gentleman who, not merely in the piece that has so long been the rage of the town, but in a brilliant series of previous successes, has always given us wit without dirt [applause]--a drama in which the hero is not a rake, and the heroine is not perpetually posing and poising between innocence and adultery."]

MR. CHAIRMAN AND GENTLEMEN:--As my friend Sullivan and I were driving to this Club this evening, both of us being very nervous and very sensitive, and both of us men who are highly conscious of our oratorical defects and deficiencies, and having before us vividly the ordeal awaiting us, we cast about for a comparison of our then condition. We likened ourselves to two authors driving down to a theatre at which a play of theirs was to be played for the first time. The thought was somewhat hara.s.sing, but we dismissed it, because we remembered that there was always an even chance of success [laughter], whereas in the performance in which we were about to take part there was no prospect of aught but humiliating failure.

We were rather in the position of prisoners surrendering to their bail, and we beg of you to extend to us your most merciful consideration. But it is expected of me, perhaps, that in replying to this toast with which your chairman has so kindly coupled my name, I shall do so in a tone of the lightest possible comedy. [Laughter.] I had almost said that I am sorry to say that I cannot do so; but in truth I am not sorry. A man who has been welcomed as we have been here by the leaders in literature and art in this city, a man who could look upon that welcome as a string on which to hang a series of small jokes would show that he was responding to an honor to which he was not ent.i.tled. For it is no light thing to come to a country which you have been taught to regard as a foreign country, and to find ourselves in the best sense of the word "at home"

[applause] among a people whom we are taught to regard as strangers, but whom we are astonished to find are our intimate friends [applause]; and that proffered friendship is so dear to us that I am disposed, in behalf of my collaborateur and myself, to stray somewhat from the beaten paths of after-dinner oratory, and to endeavor to justify ourselves in respect to a matter in which we have some reason to feel that we have been misrepresented.

I have seen in several London journals well-meant but injudicious paragraphs saying that we have a grievance against the New York managers because they have played our pieces and have offered us no share of the profits. [Laughter.] We have no grievance whatever. Our only complaint is that there is no international copyright act. [Applause.] The author of a play in which there is no copyright is very much in the position of an author or the descendants of an author whose copyright has expired. I am not aware that our London publishers are in the habit of seeking the descendants of Sir Walter Scott or Lord Byron, or Captain Marryat, and offering them a share of the profits on their publications.

[Laughter.] I have yet to learn that our London managers seek out the living representatives of Oliver Goldsmith, or Richard Brinsley Sheridan or William Shakespeare, in order to pay them any share of the profits from the production of "She Stoops to Conquer," or "The Good-Natured Man," or "The Merchant of Venice." [Laughter.] If they do so, they do it on the principle that the right hand knows not what the left hand doeth [laughter], and as we have not heard of it, we presume, therefore, that they have not done so. And we believe that if those eminent men were to request a share of the profits, they would be met with the reply that the copyright on those works had expired.

And so if we should suggest it to the managers of this country, they would perhaps reply with at least equal justice: "Gentlemen, your copyright never existed." That it has never existed is due entirely to our own fault.

We consulted a New York lawyer, and were informed that, although an alien author has no right in his works, yet so long as they remain unpublished, we held the real t.i.tle in them, and there was no process necessary to make them our own. We, therefore, thought we would keep it in unpublished form, and make more profit from the sale of the pianoforte score and the words of the songs at the theatres and at the music publishers.

We imagined that the allusions in the piece were so purely British in their character, so insular in fact, that they would be of no interest on this side; but events have shown that in that conclusion we were mistaken. At all events, we have also arrived at the conclusion that we have n.o.body to blame but ourselves. As it is, we have realized by the sale of the book and the piano score in London about $7,500 apiece, and under those circ.u.mstances I do not think we need to be pitied.

[Laughter.] For myself, I certainly do not pose as an object of compa.s.sion. [Laughter.]

We propose to open here on the first of December at the Fifth Avenue Theatre with a performance of "Pinafore." I will not add the prefixing initials, because I have no desire to offend your republican sympathies.

[Laughter.] I may say, however, that I have read in some journals that we have come over here to show you how that piece should be played, but that I disclaim, both for myself and my collaborateur. We came here to teach nothing--we have nothing to teach--and perhaps we should have no pupils if we did. [Laughter.] But apart from the fact that we have no copyright, and are not yet managers in the United States, we see no reason why we should be the only ones who are not to be permitted to play this piece here. [Laughter and applause.]

I think you will admit that we have a legitimate object in opening with it. We have no means of knowing how it has been played in this country, but we are informed that it has been played more broadly than in the old country--and you know that may be better or worse. [Laughter.]

Afterward we propose to produce another piece, and in the fulness of time the longer it is delayed perhaps the better for us [laughter], and we propose to present it to an audience [laughter] in the same spirit in which we presented "Pinafore"--in a most serious spirit--not to permit the audience to see by anything that occurs on the stage that the actors are conscious of the really absurd things they are doing. Whether right or not, that is the way in which it was presented in London. We open with "Pinafore," not to show how that ought to be played, but to show how the piece that succeeds is about to be played, and to prepare the audiences for the reception of our new and highly preposterous story.

[Applause.]

The kindness with which we have been received this evening emboldens me to believe that perhaps you will not consider this explanation altogether indecent or ill-timed. I have nothing more, gentlemen, to say, except to thank you most heartily for the complimentary manner in which you proposed our health, and to a.s.sure you that it is a compliment which is to me personally as delightful as it is undeserved.

[Applause.]

DANIEL COIT GILMAN

THE ERA OF UNIVERSITIES

[Speech of Daniel C. Gilman, President of Johns Hopkins University at the Harvard Alumni dinner, at Cambridge, Ma.s.s., June 29, 1881.]

MR. PRESIDENT AND GENTLEMEN:--There are so many in this room to whom this scene is familiar and so many whose voices have been heard within these walls, that you can hardly understand how one feels who for the first time stands and endeavors to make his voice reach over this large a.s.sembly. It is not merely the sea of upturned faces, this n.o.ble company of n.o.blemen, this regiment of brigadiers, as it might be called, it is not alone these pictures and busts, the devices and mottoes which adorn this edifice, nor is it alone the recollection of all the ill.u.s.trious teachers who have been here brought together or the consciousness that we stand among museums and cabinets and laboratories unrivalled on this continent,--all this is n.o.ble and worthy of n.o.ble men. But there is one thing that seems to me more impressive than all this. It is the power which Harvard College has had throughout all the land and throughout all its history. [Applause.]

I have had the opportunity of seeing on the sh.o.r.es of the Pacific how every act of the corporation of Harvard College, every new measure adopted by the faculty, every additional gift to its treasury, was watched as men look toward the east and watch the rising sun, rejoicing in its boundless store and radiant energy. [Applause.] And I have stood on the sh.o.r.es of a Southern river and have seen the development of a young college on the banks of the Patapsco, and I can truly say that if there had not been a John Harvard, there never would have been a Johns Hopkins [applause]; if there had never been a university in Cambridge, there never would have been a university in Baltimore; and if there is any merit in the plans adopted in that distant city, if there is any hope to be derived from the experiment which is there in vogue, it is largely due--and I rejoice in an opportunity of saying so in this public way--it is largely due to the kindly sympathy, the wise counsel, the generous help and the n.o.ble example of Harvard College. [Applause.] To the President of this university, to his a.s.sociates in the corporation and in the faculty, to many of its alumni the plans adopted in Baltimore owe a most generous and hearty acknowledgment.

The speaker who preceded me characterized Harvard College as the Alma Mater of Colleges, and well he did so. But, gentlemen, you can hardly fail to observe that in the progress of education in this country we are getting beyond the college period and we are entering the period of universities. What they are to be, none of us are wise enough to tell, but whatever they are will largely depend upon what you make of Harvard University. [Applause.] Many years ago I received a lesson from one whose name I can never mention without respect and honor, the late Benjamin Pierce. He said, in speaking of the formation of a university, "It will never succeed without eminent professors. They will tell you that great professors make poor teachers, but I will tell you it is only the eagle that is fit to teach the eaglets. Let the barn-door fowl take care of themselves." And so I say here, let there be a staff of professors the most eminent, the most earnest, the most free in their work that Harvard can bring together, and all the rest goes with it.

[Applause.]

I trust, then, that as the years roll on, as the era of universities in this country is developed from the period of college instruction, we shall find that the same wisdom that has governed the councils of our learned bodies, the same adherence to right principles, the same love of truth, will ever be present, and that Harvard College and all its younger sisters as they go on will repeat the lesson which they have taught from the beginning, and which they still teach, whether we turn our eyes to the depths of the sea or the boundless regions of s.p.a.ce, that beyond the things which are seen and temporal are the things which are unseen and eternal. [Applause.]

WILLIAM EWART GLADSTONE

THE AGE OF RESEARCH

[Speech of William B. Gladstone at the annual banquet of the Royal Academy, May 5, 1877. Sir Francis Grant, the President of the Academy, being indisposed, Sir Gilbert Scott, the eminent architect, took the chair at the special request of the President. In introducing Mr.

Gladstone, he said: "The next toast is, 'The Interests of Literature.'

I have been somewhat perplexed myself to think why the custom of the Academy places Science before Literature. I see, however, that it is quite right, for Literature is a member of our own family--our sister.

[Cheers.] I am old enough to recollect that when Sir Morton Archer Shee, who united Art with Poetry, was elected President of the Academy, this epigram appeared in the 'Times':

"'So Painting crowns her sister Poesie, The world is all astonished, so is She (e).'

Many present will remember in more recent times how Charles d.i.c.kens, when returning thanks for this toast, expressed the same sentiment of relationship by altering some words of Rob Roy's and saying that when at our Academy he felt so much at home, as to be inclined to exclaim: 'My foot is on my native heath, although my name is not Macgregor.'

Next to religion, literature in very many of its phases supplies the n.o.blest subjects for Art. History, Biography, and works of fiction all contribute their share; while poetry enjoys the c.u.mulative privilege of uniting in itself the incentives to Art which are commanded by all other branches of Literature as well as the enn.o.bling sentiments inspired by religion, patriotism and other affections of the human heart. An elevating mission, indeed, be it only directed in a worthy course. Frivolity and license are alike the bane of literature and art. Earnestness of purpose and severity of moral tone are the stamina of both. Shorn of these, both alike find their strength is gone from them. It is consoling to reflect that notwithstanding the laborious turmoil of politics we have had three, and I think successive, Prime Ministers who have made Literature the solace of their scanty leisure and delighted the world by their writings on subjects extraneous to State politics. I give you the 'Interests of Literature,' and I have the honor to connect the toast with the name of one of that distinguished trio, the Right Honorable William Ewart Gladstone."]

MR. CHAIRMAN, YOUR ROYAL HIGHNESS, MY LORDS AND GENTLEMEN:--I think no question can be raised as to the just claims of literature to stand upon the list of toasts at the Royal Academy, and the sentiment is one to which, upon any one of the numerous occasions of my attendance at your hospitable board, I have always listened with the greatest satisfaction until the present day arrived, when I am bound to say that that satisfaction is extremely qualified by the arrangement less felicitous, I think, than any which preceded it that refers to me the duty of returning thanks for Literature. [Cheers and laughter.] However, obedience is the principle upon which we must proceed, and I have at least the qualification for discharging the duty you have been pleased to place in my hands--that no one has a deeper or more profound sense of the vital importance of the active and constant cultivation of letters as an essential condition of real progress and of the happiness of mankind [cheers], and here every one at once perceives that that sisterhood of which the poet spoke, whom you have quoted, is a real sisterhood, for literature and art are alike the votaries of beauty. Of these votaries I may thankfully say that as regards art I trace around me no signs of decay, and none in that estimation in which the Academy is held, unless to be sure, in the circ.u.mstance of your poverty of choice of one to reply to this toast. [Cheers.]