They do not understand that even vice creates obstructions for itself, and that there is something in the nature of crime the tendency of which is to defeat crime, and I might add in this place that the same seems to be true of excessive virtue. As a rule, the clergy clamor with great zeal for the execution of cruel laws.
Let me give an instance in point: In the time of George III., in England, there were two hundred and twenty-three offences punishable with death. From time to time this cruel code was changed by Act of Parliament, yet no bishop sitting in the House of Lords ever voted in favor of any one of these measures. The bishops always voted for death, for blood, against mercy and against the repeal of capital punishment. During all these years there were some twenty thousand or more of the established clergy, and yet, according to John Bright, no voice was ever raised in any English pulpit against the infamous criminal code.
Another thing: The orthodox clergy teach that man is totally depraved; that his inclination is evil; that his tendency is toward the Devil. Starting from this as a foundation, of course every clergyman believes every bad thing said of everybody else. So, when some man is charged with a crime, the clergyman taking into consideration the fact that the man is totally depraved, takes it for granted that he must be guilty. I am not saying this for the purpose of exciting prejudice against the clergy. I am simply showing what is the natural result of a certain creed, of a belief in universal depravity, or a belief in the power and influence of a personal Devil. If the clergy could have their own way they would endeavor to reform the world by law. They would re-enact the old statutes of the Puritans. Joy would be a crime. Love would be an offence. Every man with a smile on his face would be suspected, and a dimple in the cheek would be a demonstration of depravity.
In the trial of a cause it is natural for a clergyman to start with the proposition, "The defendant is guilty;" and then he says to himself, "Let him prove himself innocent." The man who has not been poisoned with the creed starts out with the proposition, "The defendant is innocent; let the State prove that he is guilty."
Consequently, I say that if I were defending a man whom I knew to be innocent, I would not have a clergyman on the jury if I could help it.
--_New York Advertiser_, December 24, 1893.
SPIRITUALISM.
_Question_. Have you investigated Spiritualism, and what has been your experience?
_Answer_. A few years ago I paid some attention to what is called Spiritualism, and was present when quite mysterious things were supposed to have happened. The most notable seance that I attended was given by Slade, at which slate-writing was done. Two slates were fastened together, with a pencil between them, and on opening the slates certain writing was found. When the writing was done it was impossible to tell. So, I have been present when it was claimed that certain dead people had again clothed themselves in flesh and were again talking in the old way. In one instance, I think, George Washington claimed to be present. On the same evening Shakespeare put in an appearance. It was hard to recognize Shakespeare from what the spirit said, still I was assured by the medium that there was no mistake as to the identity.
_Question_. Can you offer any explanation of the extraordinary phenomena such as Henry J. Newton has had produced at his own house under his own supervision?
_Answer_. In the first place, I don't believe that anything such as you describe has ever happened. I do not believe that a medium ever passed into and out of a triple-locked iron cage. Neither do I believe that any spirits were able to throw shoes and wraps out of the cage; neither do I believe that any apparitions ever rose from the floor, or that anything you relate has ever happened.
The best explanation I can give of these wonderful occurrences is the following: A little boy and girl were standing in a doorway holding hands. A gentleman passing, stopped for a moment and said to the little girl: "What relation is the little boy to you?" and she replied, "We had the same father and we had the same mother, but I am not his sister and he is not my brother." This at first seemed to be quite a puzzle, but it was exceedingly plain when the answer was known: The little girl lied.
_Question_. Have you had any experience with spirit photography, spirit physicians, or spirit lawyers?
_Answer_. I was shown at one time several pictures said to be the photographs of living persons surrounded by the photographs of spirits. I examined them very closely, and I found evidence in the photographs themselves that they were spurious. I took it for granted that light is the same everywhere, and that it obeys the angle of incidence in all worlds and at all times. In looking at the spirit photographs I found, for instance, that in the photograph of the living person the shadows fell to the right, and that in the photographs of the ghosts, or spirits, supposed to have been surrounding the living person at the time the picture was taken, the shadows did not fall in the same direction, sometimes in the opposite direction, never at the same angle even when the general direction was the same. This demonstrated that the photographs of the spirits and of the living persons were not taken at the same time. So much for photographs.
I have had no experience with spirit physicians. I was once told by a lawyer who came to employ me in a will case, that a certain person had made a will giving a large amount of money for the purpose of spreading the gospel of Spiritualism, but that the will had been lost and than an effort was then being made to find it, and they wished me to take certain action pending the search, and wanted my assistance. I said to him: "If Spiritualism be true, why not ask the man who made the will what it was and also what has become of it. If you can find that out from the departed, I will gladly take a retainer in the case; otherwise, I must decline."
I have had no other experience with the lawyers.
_Question_. If you were to witness phenomena that seemed inexplicable by natural laws, would you be inclined to favor Spiritualism?
_Answer_. I would not. If I should witness phenomena that I could not explain, I would leave the phenomena unexplained. I would not explain them because I did not understand them, and say they were or are produced by spirits. That is no explanation, and, after admitting that we do not know and that we cannot explain, why should we proceed to explain? I have seen Mr. Kellar do things for which I cannot account. Why should I say that he has the assistance of spirits? All I have a right to say is that I know nothing about how he does them. So I am compelled to say with regard to many spiritualistic feats, that I am ignorant of the ways and means.
At the same time, I do not believe that there is anything supernatural in the universe.
_Question_. What is your opinion of Spiritualism and Spiritualists?
_Answer_. I think the Spiritualism of the present day is certainly in advance of the Spiritualism of several centuries ago. Persons who now deny Spiritualism and hold it in utter contempt insist that some eighteen or nineteen centuries ago it had possession of the world; that miracles were of daily occurrence; that demons, devils, fiends, took possession of human beings, lived in their bodies, dominated their minds. They believe, too, that devils took possession of the bodies of animals. They also insist that a wish could multiply fish. And, curiously enough, the Spiritualists of our time have but little confidence in the phenomena of eighteen hundred years ago; and, curiously enough, those who believe in the Spiritualism of eighteen hundred years ago deny the Spiritualism of to-day. I think the Spiritualists of to-day have far more evidence of their phenomena than those who believe in the wonderful things of eighteen centuries ago. The Spiritualists of to-day have living witnesses, which is something. I know a great many Spiritualists that are exceedingly good people, and are doing what they can to make the world better. But I think they are mistaken.
_Question_. Do you believe in spirit entities, whether manifestible or not?
_Answer_. I believe there is such a thing as matter. I believe there is a something called force. The difference between force and matter I do not know. So there is something called consciousness.
Whether we call consciousness an entity or not makes no difference as to what it really is. There is something that hears, sees and feels, a something that takes cognizance of what happens in what we call the outward world. No matter whether we call this something matter or spirit, it is something that we do not know, to say the least of it, all about. We cannot understand what matter is. It defies us, and defies definitions. So, with what we call spirit, we are in utter ignorance of what it is. We have some little conception of what we mean by it, and of what others mean, but as to what it really is no one knows. It makes no difference whether we call ourselves Materialists or Spiritualists, we believe in all there is, no matter what you call it. If we call it all matter, then we believe that matter can think and hope and dream. If we call it all spirit, then we believe that spirit has force, that it offers a resistance; in other words, that it is, in one of its aspects, what we call matter. I cannot believe that everything can be accounted for by motion or by what we call force, because there is something that recognizes force. There is something that compares, that thinks, that remembers; there is something that suffers and enjoys; there is something that each one calls himself or herself, that is inexplicable to himself or herself, and it makes no difference whether we call this something mind or soul, effect or entity, it still eludes us, and all the words we have coined for the purpose of expressing our knowledge of this something, after all, express only our desire to know, and our efforts to ascertain. It may be that if we would ask some minister, some one who has studied theology, he would give us a perfect definition.
The scientists know nothing about it, and I know of no one who does, unless it be a theologian.
--_The Globe-Democrat_, St. Louis, Mo., 1893.
PLAYS AND PLAYERS.
[Illustration: Chatham Street Theater]
_Chatham Street Theater, New York City, N. Y., where Robert G.
Ingersoll was baptized in 1836 by his father, the Rev. John Ingersoll, who temporarily preached at the theatre, his church having been destroyed by fire_.
_Question_. What place does the theatre hold among the arts?
_Answer_. Nearly all the arts unite in the theatre, and it is the result of the best, the highest, the most artistic, that man can do.
In the first place, there must be the dramatic poet. Dramatic poetry is the subtlest, profoundest, the most intellectual, the most passionate and artistic of all. Then the stage must be prepared, and there is work for the architect, the painter and sculptor. Then the actors appear, and they must be gifted with imagination, with a high order of intelligence; they must have sympathies quick and deep, natures capable of the greatest emotion, dominated by passion. They must have impressive presence, and all that is manly should meet and unite in the actor; all that is womanly, tender, intense and admirable should be lavishly bestowed on the actress. In addition to all this, actors should have the art of being natural.
Let me explain what I mean by being natural. When I say that an actor is natural, I mean that he appears to act in accordance with his ideal, in accordance with his nature, and that he is not an imitator or a copyist--that he is not made up of shreds and patches taken from others, but that all he does flows from interior fountains and is consistent with his own nature, all having in a marked degree the highest characteristics of the man. That is what I mean by being natural.
The great actor must be acquainted with the heart, must know the motives, ends, objects and desires that control the thoughts and acts of men. He must be familiar with many people, including the lowest and the highest, so that he may give to others, clothed with flesh and blood, the characters born of the poet's brain. The great actor must know the relations that exist between passion and voice, gesture and emphasis, expression and pose. He must speak not only with his voice, but with his body. The great actor must be master of many arts.
Then comes the musician. The theatre has always been the home of music, and this music must be appropriate; must, or should, express or supplement what happens on the stage; should furnish rest and balm for minds overwrought with tragic deeds. To produce a great play, and put it worthily upon the stage, involves most arts, many sciences and nearly all that is artistic, poetic and dramatic in the mind of man.
_Question_. Should the drama teach lessons and discuss social problems, or should it give simply intellectual pleasure and furnish amusement?
_Answer_. Every great play teaches many lessons and touches nearly all social problems. But the great play does this by indirection.
Every beautiful thought is a teacher; every noble line speaks to the brain and heart. Beauty, proportion, melody suggest moral beauty, proportion in conduct and melody in life. In a great play the relations of the various characters, their objects, the means adopted for their accomplishment, must suggest, and in a certain sense solve or throw light on many social problems, so that the drama teaches lessons, discusses social problems and gives intellectual pleasure.
The stage should not be dogmatic; neither should its object be directly to enforce a moral. The great thing for the drama to do, and the great thing it has done, and is doing, is to cultivate the imagination. This is of the utmost importance. The civilization of man depends upon the development, not only of the intellect, but of the imagination. Most crimes of violence are committed by people who are destitute of imagination. People without imagination make most of the cruel and infamous creeds. They were the persecutors and destroyers of their fellow-men. By cultivating the imagination, the stage becomes one of the greatest teachers. It produces the climate in which the better feelings grow; it is the home of the ideal. All beautiful things tend to the civilization of man. The great statues plead for proportion in life, the great symphonies suggest the melody of conduct, and the great plays cultivate the heart and brain.
_Question_. What do you think of the French drama as compared with the English, morally and artistically considered?
_Answer_. The modern French drama, so far as I am acquainted with it, is a disease. It deals with the abnormal. It is fashioned after Balzac. It exhibits moral tumors, mental cancers and all kinds of abnormal fungi,--excrescences. Everything is stood on its head; virtue lives in the brothel; the good are the really bad and the worst are, after all, the best. It portrays the exceptional, and mistakes the scum-covered bayou for the great river. The French dramatists seem to think that the ceremony of marriage sows the seed of vice. They are always conveying the idea that the virtuous are uninteresting, rather stupid, without sense and spirit enough to take advantage of their privilege. Between the greatest French plays and the greatest English plays of course there is no comparison.
If a Frenchman had written the plays of Shakespeare, Desdemona would have been guilty, Isabella would have ransomed her brother at the Duke's price, Juliet would have married the County Paris, run away from him, and joined Romeo in Mantua, and Miranda would have listened coquettishly to the words of Caliban. The French are exceedingly artistic. They understand stage effects, love the climax, delight in surprises, especially in the improbable; but their dramatists lack sympathy and breadth of treatment. They are provincial. With them France is the world. They know little of other countries. Their plays do not touch the universal.
_Question_. What are your feelings in reference to idealism on the stage?
_Answer_. The stage ought to be the home of the ideal; in a word, the imagination should have full sway. The great dramatist is a creator; he is the sovereign, and governs his own world. The realist is only a copyist. He does not need genius. All he wants is industry and the trick of imitation. On the stage, the real should be idealized, the ordinary should be transfigured; that is, the deeper meaning of things should be given. As we make music of common air, and statues of stone, so the great dramatist should make life burst into blossom on the stage. A lot of words, facts, odds and ends divided into acts and scenes do not make a play.
These things are like old pieces of broken iron that need the heat of the furnace so that they may be moulded into shape. Genius is that furnace, and in its heat and glow and flame these pieces, these fragments, become molten and are cast into noble and heroic forms. Realism degrades and impoverishes the stage.
_Question_. What attributes should an actor have to be really great?
_Answer_. Intelligence, imagination, presence; a mobile and impressive face; a body that lends itself to every mood in appropriate pose, one that is oak or willow, at will; self-possession; absolute ease; a voice capable of giving every shade of meaning and feeling, an intuitive knowledge or perception of proportion, and above all, the actor should be so sincere that he loses himself in the character he portrays. Such an actor will grow intellectually and morally.
The great actor should strive to satisfy himself--to reach his own ideal.
_Question_. Do you enjoy Shakespeare more in the library than Shakespeare interpreted by actors now on the boards?
_Answer_. I enjoy Shakespeare everywhere. I think it would give me pleasure to hear those wonderful lines spoken even by phonographs.
But Shakespeare is greatest and best when grandly put upon the stage. There you know the connection, the relation, the circumstances, and these bring out the appropriateness and the perfect meaning of the text. Nobody in this country now thinks of Hamlet without thinking of Booth. For this generation at least, Booth is Hamlet.
It is impossible for me to read the words of Sir Toby without seeing the face of W. F. Owen. Brutus is Davenport, Cassius is Lawrence Barrett, and Lear will be associated always in my mind with Edwin Forrest. Lady Macbeth is to me Adelaide Ristori, the greatest actress I ever saw. If I understood music perfectly, I would much rather hear Seidl's orchestra play "Tristan," or hear Remenyi's matchless rendition of Schubert's "Ave Maria," than to read the notes.