The Complete Writings of Charles Dudley Warner Part 85

AS WE WERE SAYING ROSE AND CHRYSANTHEMUM THE RED BONNET THE LOSS IN CIVILIZATION SOCIAL SCREAMING DOES REFINEMENT KILL INDIVIDUALITY?

THE DIRECTOIRE GOWN THE MYSTERY OF THE s.e.x THE CLOTHES OF FICTION THE BROAD A CHEWING GUM WOMEN IN CONGRESS SHALL WOMEN PROPOSE?

FROCKS AND THE STAGE ALTRUISM SOCIAL CLEARING-HOUSE DINNER-TABLE TALK NATURALIZATION ART OF GOVERNING LOVE OF DISPLAY VALUE OF THE COMMONPLACE THE BURDEN OF CHRISTMAS THE RESPONSIBILITY OF WRITERS THE CAP AND GOWN A TENDENCY OF THE AGE A LOCOED NOVELIST AS WE GO OUR PRESIDENT THE NEWSPAPER-MADE MAN INTERESTING GIRLS GIVE THE MEN A CHANCE THE ADVENT OF CANDOR THE AMERICAN MAN THE ELECTRIC WAY CAN A HUSBAND OPEN HIS WIFE'S LETTERS?

A LEISURE CLa.s.s WEATHER AND CHARACTER BORN WITH AN "EGO"

JUVENTUS MUNDI A BEAUTIFUL OLD AGE THE ATTRACTION OF THE REPULSIVE GIVING AS A LUXURY CLIMATE AND HAPPINESS THE NEW FEMININE RESERVE REPOSE IN ACTIVITY WOMEN--IDEAL AND REAL THE ART OF IDLENESS IS THERE ANY CONVERSATION THE TALL GIRL THE DEADLY DIARY THE WHISTLING GIRL BORN OLD AND RICH THE "OLD SOLDIER"

THE ISLAND OF BIMINI JUNE NINE SHORT ESSAYS A NIGHT IN THE GARDEN OF THE TUILERIES TRUTHFULNESS THE PURSUIT OF HAPPINESS LITERATURE AND THE STAGE THE LIFE-SAVING AND LIFE PROLONGING ART "H.H." IN SOUTHERN CALIFORNIA SIMPLICITY THE ENGLISH VOLUNTEERS DURING THE LATE INVASION NATHAN HALE FASHIONS IN LITERATURE THE AMERICAN NEWSPAPER CERTAIN DIVERSITIES OF AMERICAN LIFE THE PILGRIM, AND THE AMERICAN OF TODAY--[1892]

SOME CAUSES OF THE PREVAILING DISCONTENT THE EDUCATION OF THE NEGRO THE INDETERMINATE SENTENCE LITERARY COPYRIGHT THE RELATION OF LITERATURE TO LIFE BIOGRAPHICAL SKETCH BY THOMAS R. LOUNSBURY.

THE RELATION OF LITERATURE TO LIFE "EQUALITY"

WHAT IS YOUR CULTURE TO ME?

MODERN FICTION THOUGHTS SUGGESTED BY MR. FROUDE'S "PROGRESS"

ENGLAND THE NOVEL AND THE COMMON SCHOOL THE PEOPLE FOR WHOM SHAKESPEARE WROTE

AS WE WERE SAYING

By Charles Dudley Warner

BACKLOG EDITION

THE COMPLETE WRITINGS

OF CHARLES DUDLEY WARNER

1904

AS WE WERE SAYING

CONTENTS: (25 Short Studies)

ROSE AND CHRYSANTHEMUM THE RED BONNET THE LOSS IN CIVILIZATION SOCIAL SCREAMING DOES REFINEMENT KILL INDIVIDUALITY?

THE DIRECTOIRE GOWN THE MYSTERY OF THE s.e.x THE CLOTHES OF FICTION THE BROAD A CHEWING GUM WOMEN IN CONGRESS SHALL WOMEN PROPOSE?

FROCKS AND THE STAGE ALTRUISM SOCIAL CLEARING-HOUSE DINNER-TABLE TALK NATURALIZATION ART OF GOVERNING LOVE OF DISPLAY VALUE OF THE COMMONPLACE THE BURDEN OF CHRISTMAS THE RESPONSIBILITY OF WRITERS THE CAP AND GOWN A TENDENCY OF THE AGE A LOCOED NOVELIST

ROSE AND CHRYSANTHEMUM

The Drawer will still bet on the rose. This is not a wager, but only a strong expression of opinion. The rose will win. It does not look so now.

To all appearances, this is the age of the chrysanthemum. What this gaudy flower will be, daily expanding and varying to suit the whim of fashion, no one can tell. It may be made to bloom like the cabbage; it may spread out like an umbrella--it can never be large enough nor showy enough to suit us. Undeniably it is very effective, especially in ma.s.ses of gorgeous color. In its innumerable shades and enlarging proportions, it is a triumph of the gardener. It is a rival to the a.n.a.line dyes and to the marabout feathers. It goes along with all the conceits and fantastic unrest of the decorative art. Indeed, but for the discovery of the capacities of the chrysanthemum, modern life would have experienced a fatal hitch in its development. It helps out our age of plush with a flame of color. There is nothing shamefaced or retiring about it, and it already takes all provinces for its own. One would be only half-married--civilly, and not fashionably--without a chrysanthemum wedding; and it lights the way to the tomb. The maiden wears a bunch of it in her corsage in token of her blooming expectations, and the young man flaunts it on his coat lapel in an effort to be at once effective and in the mode. Young love that used to express its timid desire with the violet, or, in its ardor, with the carnation, now seeks to bring its emotions to light by the help of the chrysanthemum. And it can express every shade of feeling, from the rich yellow of prosperous wooing to the brick-colored weariness of life that is hardly distinguishable from the liver complaint. It is a little stringy for a boutonniere, but it fills the modern-trained eye as no other flower can fill it. We used to say that a girl was as sweet as a rose; we have forgotten that language. We used to call those tender additions to society, on the eve of their event into that world which is always so eager to receive fresh young life, "rose-buds"; we say now simply "buds," but we mean chrysanthemum buds.

They are as beautiful as ever; they excite the same exquisite interest; perhaps in their maiden hearts they are one or another variety of that flower which bears such a sweet perfume in all literature; but can it make no difference in character whether a young girl comes out into the garish world as a rose or as a chrysanthemum? Is her life set to the note of display, of color and show, with little sweetness, or to that retiring modesty which needs a little encouragement before it fully reveals its beauty and its perfume? If one were to pa.s.s his life in moving in a palace car from one plush hotel to another, a bunch of chrysanthemums in his hand would seem to be a good symbol of his life. There are aged people who can remember that they used to choose various roses, as to their color, odor, and degree of unfolding, to express the delicate shades of advancing pa.s.sion and of devotion. What can one do with this new favorite? Is not a bunch of chrysanthemums a sort of take-it-or-leave-it declaration, boldly and showily made, an offer without discrimination, a tender without romance? A young man will catch the whole family with this flaming message, but where is that sentiment that once set the maiden heart in a flutter? Will she press a chrysanthemum, and keep it till the faint perfume reminds her of the sweetest moment of her life?

Are we exaggerating this astonishing rise, development, and spread of the chrysanthemum? As a fashion it is not so extraordinary as the hoop-skirt, or as the neck ruff, which is again rising as a background to the lovely head. But the remarkable thing about it is that heretofore in all nations and times, and in all changes of fashion in dress, the rose has held its own as the queen of flowers and as the finest expression of sentiment.

But here comes a flaunting thing with no desirable perfume, looking as if it were cut with scissors out of tissue-paper, but capable of taking infinite varieties of color, and growing as big as a curtain ta.s.sel, that literally captures the world, and spreads all over the globe, like the Canada thistle. The florists have no eye for anything else, and the biggest floral prizes are awarded for the production of its eccentricities. Is the rage for this flower typical of this fast and flaring age?

The Drawer is not an enemy to the chrysanthemum, nor to the sunflower, nor to any other gorgeous production of nature. But it has an old-fashioned love for the modest and un.o.btrusive virtues, and an abiding faith that they will win over the strained and strident displays of life.

There is the violet: all efforts of cultivation fail to make it as big as the peony, and it would be no more dear to the heart if it were quadrupled in size. We do, indeed, know that satisfying beauty and refinement are apt to escape us when we strive too much and force nature into extraordinary display, and we know how difficult it is to get mere bigness and show without vulgarity. Cultivation has its limits. After we have produced it, we find that the biggest rose even is not the most precious; and lovely as woman is, we instinctively in our admiration put a limit to her size. There being, then, certain laws that ultimately fetch us all up standing, so to speak, it does seem probable that the chrysanthemum rage will end in a gorgeous sunset of its splendor; that fashion will tire of it, and that the rose, with its secret heart of love; the rose, with its exquisite form; the rose, with its capacity of shyly and reluctantly unfolding its beauty; the rose, with that odor--of the first garden exhaled and yet kept down through all the ages of sin --will become again the fashion, and be more pa.s.sionately admired for its temporary banishment. Perhaps the poet will then come back again and sing. What poet could now sing of the "awful chrysanthemum of dawn"?

THE RED BONNET

The Drawer has no wish to make Lent easier for anybody, or rather to diminish the benefit of the penitential season. But in this period of human anxiety and repentance it must be said that not enough account is made of the moral responsibility of Things. The doctrine is sound; the only difficulty is in applying it. It can, however, be ill.u.s.trated by a little story, which is here confided to the reader in the same trust in which it was received. There was once a lady, sober in mind and sedate in manner, whose plain dress exactly represented her desire to be inconspicuous, to do good, to improve every day of her life in actions that should benefit her kind. She was a serious person, inclined to improving conversation, to the reading of bound books that cost at least a dollar and a half (fifteen cents of which she gladly contributed to the author), and she had a distaste for the gay society which was mainly a flutter of ribbons and talk and pretty faces; and when she meditated, as she did in her spare moments, her heart was sore over the frivolity of life and the emptiness of fashion. She longed to make the world better, and without any priggishness she set it an example of simplicity and sobriety, of cheerful acquiescence in plainness and inconspicuousness.

One day--it was in the autumn--this lady had occasion to buy a new hat.

From a great number offered to her she selected a red one with a dull red plume. It did not agree with the rest of her apparel; it did not fit her apparent character. What impulse led to this selection she could not explain. She was not tired of being good, but something in the jauntiness of the hat and the color pleased her. If it were a temptation, she did not intend to yield to it, but she thought she would take the hat home and try it. Perhaps her nature felt the need of a little warmth. The hat pleased her still more when she got it home and put it on and surveyed herself in the mirror. Indeed, there was a new expression in her face that corresponded to the hat. She put it off and looked at it. There was something almost humanly winning and temptatious in it. In short, she kept it, and when she wore it abroad she was not conscious of its incongruity to herself or to her dress, but of the incongruity of the rest of her apparel to the hat, which seemed to have a sort of intelligence of its own, at least a power of changing and conforming things to itself. By degrees one article after another in the lady's wardrobe was laid aside, and another subst.i.tuted for it that answered to the demanding spirit of the hat. In a little while this plain lady was not plain any more, but most gorgeously dressed, and possessed with the desire to be in the height of the fashion. It came to this, that she had a tea-gown made out of a window-curtain with a flamboyant pattern.

Solomon in all his glory would have been ashamed of himself in her presence.

But this was not all. Her disposition, her ideas, her whole life, was changed. She did not any more think of going about doing good, but of amusing herself. She read nothing but stories in paper covers. In place of being sedate and sober-minded, she was frivolous to excess; she spent most of her time with women who liked to "frivol." She kept Lent in the most expensive way, so as to make the impression upon everybody that she was better than the extremest kind of Lent. From liking the sedatest company she pa.s.sed to liking the gayest society and the most fashionable method of getting rid of her time. Nothing whatever had happened to her, and she is now an ornament to society.

This story is not an invention; it is a leaf out of life. If this lady that autumn day had bought a plain bonnet she would have continued on in her humble, sensible way of living. Clearly it was the hat that made the woman, and not the woman the hat. She had no preconception of it; it simply happened to her, like any accident--as if she had fallen and sprained her ankle. Some people may say that she had in her a concealed propensity for frivolity; but the hat cannot escape the moral responsibility of calling it out if it really existed. The power of things to change and create character is well attested. Men live up to or live down to their clothes, which have a great moral influence on manner, and even on conduct. There was a man run down almost to vagabondage, owing to his increasingly shabby clothing, and he was only saved from becoming a moral and physical wreck by a remnant of good-breeding in him that kept his worn boots well polished. In time his boots brought up the rest of his apparel and set him on his feet again. Then there is the well-known example of the honest clerk on a small salary who was ruined by the gift of a repeating watch--an expensive timepiece that required at least ten thousand a year to sustain it: he is now in Canada.

Sometimes the influence of Things is good and sometimes it is bad. We need a philosophy that shall tell us why it is one or the other, and fix the responsibility where it belongs. It does no good, as people always find out by reflex action, to kick an inanimate thing that has offended, to smash a perverse watch with a hammer, to break a rocking-chair that has a habit of tipping over backward. If Things are not actually malicious, they seem to have a power of revenging themselves. We ought to try to understand them better, and to be more aware of what they can do to us. If the lady who bought the red hat could have known the hidden nature of it, could have had a vision of herself as she was transformed by it, she would as soon have taken a viper into her bosom as have placed the red tempter on her head. Her whole previous life, her feeling of the moment, show that it was not vanity that changed her, but the inconsiderate a.s.sociation with a Thing that happened to strike her fancy, and which seemed innocent. But no Thing is really powerless for good or evil.

THE LOSS IN CIVILIZATION

Have we yet hit upon the right idea of civilization? The process which has been going on ever since the world began seems to have a defect in it; strength, vital power, somehow escapes. When you've got a man thoroughly civilized you cannot do anything more with him. And it is worth reflection what we should do, what could we spend our energies on, and what would evoke them, we who are both civilized and enlightened, if all nations were civilized and the earth were entirely subdued. That is to say, are not barbarism and vast regions of uncultivated land a necessity of healthful life on this globe? We do not like to admit that this process has its cycles, that nations and men, like trees and fruit, grow, ripen, and then decay. The world has always had a conceit that the globe could be made entirely habitable, and all over the home of a society constantly growing better. In order to accomplish this we have striven to eliminate barbarism in man and in nature:

Is there anything more unsatisfactory than a perfect house, perfect grounds, perfect gardens, art and nature brought into the most absolute harmony of taste and culture? What more can a man do with it? What satisfaction has a man in it if he really gets to the end of his power to improve it? There have been such nearly ideal places, and how strong nature, always working against man and in the interest of untamed wildness, likes to riot in them and reduce them to picturesque destruction! And what sweet sadness, pathos, romantic suggestion, the human mind finds in such a ruin! And a society that has attained its end in all possible culture, entire refinement in manners, in tastes, in the art of elegant intellectual and luxurious living--is there nothing pathetic in that? Where is the primeval, heroic force that made the joy of living in the rough old uncivilized days? Even throw in goodness, a certain amount of altruism, gentleness, warm interest in unfortunate humanity--is the situation much improved? London is probably the most civilized centre the world has ever seen; there are gathered more of the elements of that which we reckon the best. Where in history, unless some one puts in a claim for the Frenchman, shall we find a Man so nearly approaching the standard we have set up of civilization as the Englishman, refined by inheritance and tradition, educated almost beyond the disturbance of enthusiasm, and cultivated beyond the chance of surprise? We are speaking of the highest type in manner, information, training, in the acquisition of what the world has to give. Could these men have conquered the world? Is it possible that our highest civilization has lost something of the rough and admirable element that we admire in the heroes of Homer and of Elizabeth? What is this London, the most civilized city ever known? Why, a considerable part of its population is more barbarous, more hopelessly barbarous, than any wild race we know, because they are the barbarians of civilization, the refuse and slag of it, if we dare say that of any humanity. More hopeless, because the virility of savagery has measurably gone out of it. We can do something with a degraded race of savages, if it has any stamina in it.

What can be done with those who are described as "East-Londoners"?

Every great city has enough of the same element. Is this an accident, or is it a necessity of the refinement that we insist on calling civilization? We are always sending out missionaries to savage or perverted nations, we are always sending out emigrants to occupy and reduce to order neglected territory. This is our main business. How would it be if this business were really accomplished, and there were no more peoples to teach our way of life to, and no more territory to bring under productive cultivation? Without the necessity of putting forth this energy, a survival of the original force in man, how long would our civilization last? In a word, if the world were actually all civilized, wouldn't it be too weak even to ripen? And now, in the great centres, where is acc.u.mulated most of that we value as the product of man's best efforts, is there strength enough to elevate the degraded humanity that attends our highest cultivation? We have a gay confidence that we can do something for Africa. Can we reform London and Paris and New York, which our own hands have made?

If we cannot, where is the difficulty? Is this a hopeless world? Must it always go on by spurts and relapses, alternate civilization and barbarism, and the barbarism being necessary to keep us employed and growing? Or is there some mistake about our ideal of civilization? Does our process too much eliminate the rough vigor, courage, stamina of the race? After a time do we just live, or try to live, on literature warmed over, on pretty coloring and drawing instead of painting that stirs the soul to the heroic facts and tragedies of life? Where did this virile, blood-full, throbbing Russian literature come from; this Russian painting of Verestchagin, that smites us like a sword with the consciousness of the tremendous meaning of existence? Is there a barbaric force left in the world that we have been daintily trying to cover and apologize for and refine into gentle agreeableness?

These questions are too deep for these pages. Let us make the world pleasant, and throw a cover over the refuse. We are doing very well, on the whole, considering what we are and the materials we have to work on.

And we must not leave the world so perfectly civilized that the inhabitants, two or three centuries ahead, will have nothing to do.

SOCIAL SCREAMING

Of all the contrivances for amus.e.m.e.nt in this agreeable world the "Reception" is the most ingenious, and would probably most excite the wonder of an angel sent down to inspect our social life. If he should pause at the entrance of the house where one is in progress, he would be puzzled. The noise that would greet his ears is different from the deep continuous roar in the streets, it is unlike the hum of millions of seventeen-year locusts, it wants the musical quality of the spring conventions of the blackbirds in the chestnuts, and he could not compare it to the vociferation in a lunatic asylum, for that is really subdued and infrequent. He might be incapable of a.n.a.lyzing this, but when he caught sight of the company he would be compelled to recognize it as the noise of our highest civilization. It may not be perfect, for there are limits to human powers of endurance, but it is the best we can do. It is not a chance affair. Here are selected, picked out by special invitation, the best that society can show, the most intelligent, the most accomplished, the most beautiful, the best dressed persons in the community--all receptions have this character. The angel would notice this at once, and he would be astonished at the number of such persons, for the rooms would be so crowded that he would see the hopelessness of attempting to edge or wedge his way through the throng without tearing off his wings. An angel, in short, would stand no chance in one of these brilliant a.s.semblies on account of his wings, and he probably could not be heard, on account of the low, heavenly pitch of his voice. His inference would be that these people had been selected to come together by reason of their superior power of screaming. He would be wrong.