Modern Essays Part 8

The truth is the best you can get with your best endeavor, the best that the best men accept--with this you must learn to be satisfied, retaining at the same time with due humility an earnest desire for an ever larger portion. Only by keeping the mind plastic and receptive does the student escape perdition. It is not, as Charles Lamb remarks, that some people do not know what to do with truth when it is offered to them, but the tragic fate is to reach, after years of patient search, a condition of mind-blindness in which the truth is not recognized, though it stares you in the face. This can never happen to a man who has followed step by step the growth of a truth, and who knows the painful phases of its evolution. It is one of the great tragedies of life that every truth has to struggle to acceptance against honest but mind-blind students. Harvey knew his contemporaries well, and for twelve successive years demonstrated the circulation of the blood before daring to publish the facts on which the truth was based.[D]

Only steadfastness of purpose and humility enable the student to s.h.i.+ft his position to meet the new conditions in which new truths are born, or old ones modified beyond recognition. And, thirdly, the honest heart will keep him in touch with his fellow students, and furnish that sense of comrades.h.i.+p without which he travels an arid waste alone. I say advisedly an honest heart--the honest head is p.r.o.ne to be cold and stern, given to judgment, not mercy, and not always able to entertain that true charity which, while it thinketh no evil, is anxious to put the best possible interpretation upon the motives of a fellow worker. It will foster, too, an att.i.tude of generous, friendly rivalry untinged by the green peril, jealousy, that is the best preventive of the growth of a b.a.s.t.a.r.d scientific spirit, loving seclusion and working in a lock-and-key laboratory, as timorous of light as is a thief.

You have all become brothers in a great society, not apprentices, since that implies a master, and nothing should be further from the att.i.tude of the teacher than much that is meant in that word, used though it be in another sense, particularly by our French brethren in a most delightful way, signifying a bond of intellectual filiation. A fraternal att.i.tude is not easy to cultivate--the chasm between the chair and the bench is difficult to bridge. Two things have helped to put up a cantilever across the gulf. The successful teacher is no longer on a height, pumping knowledge at high pressure into pa.s.sive receptacles. The new methods have changed all this. He is no longer Sir Oracle, perhaps unconsciously by his very manner antagonizing minds to whose level he cannot possibly descend, but he is a senior student anxious to help his juniors. When a simple, earnest spirit animates a college, there is no appreciable interval between the teacher and the taught--both are in the same cla.s.s, the one a little more advanced than the other. So animated, the student feels that he has joined a family whose honor is his honor, whose welfare is his own, and whose interests should be his first consideration.

The hardest conviction to get into the mind of a beginner is that the education upon which he is engaged is not a college course, not a medical course, but a life course, for which the work of a few years under teachers is but a preparation. Whether you will falter and fail in the race or whether you will be faithful to the end depends on the training before the start, and on your staying powers, points upon which I need not enlarge. You can all become good students, a few may become great students, and now and again one of you will be found who does easily and well what others cannot do at all, or very badly, which is John Ferriar's excellent definition of a genius.

In the hurry and bustle of a business world, which is the life of this continent, it is not easy to train first-cla.s.s students. Under present conditions it is hard to get the needful seclusion, on which account it is that our educational market is so full of wayside fruit. I have always been much impressed by the advice of St. Chrysostom: "Depart from the highway and transplant thyself in some enclosed ground, for it is hard for a tree which stands by the wayside to keep her fruit till it be ripe." The dilettante is abroad in the land, the man who is always venturing on tasks for which he is imperfectly equipped, a habit of mind fostered by the multiplicity of subjects in the curriculum: and while many things are studied, few are studied thoroughly. Men will not take time to get to the heart of a matter. After all, concentration is the price the modern student pays for success. Thoroughness is the most difficult habit to acquire, but it is the pearl of great price, worth all the worry and trouble of the search. The dilettante lives an easy, b.u.t.terfly life, knowing nothing of the toil and labor with which the treasures of knowledge are dug out of the past, or wrung by patient research in the laboratories. Take, for example, the early history of this country--how easy for the student of the one type to get a smattering, even a fairly full acquaintance with the events of the French and Spanish settlements. Put an original doc.u.ment before him, and it might as well be Arabic. What we need is the other type, the man who knows the records, who, with a broad outlook and drilled in what may be called the embryology of history, has yet a powerful vision for the minutiae of life. It is these kitchen and backstair men who are to be encouraged, the men who know the subject in hand in all possible relations.h.i.+ps. Concentration has its drawbacks. It is possible to become so absorbed in the problem of the "enc.l.i.tic de," or the structure of the flagella of the Trich.o.m.onas, or of the toes of the prehistoric horse, that the student loses the sense of proportion in his work, and even wastes a lifetime in researches which are valueless because not in touch with current knowledge. You remember poor Casaubon, in "Middlemarch," whose painful scholars.h.i.+p was lost on this account.

The best preventive to this is to get denationalized early. The true student is a citizen of the world, the allegiance of whose soul, at any rate, is too precious to be restricted to a single country. The great minds, the great works transcend all limitations of time, of language, and of race, and the scholar can never feel initiated into the company of the elect until he can approach all of life's problems from the cosmopolitan standpoint. I care not in what subject he may work, the full knowledge cannot be reached without drawing on supplies from lands other than his own--French, English, German, American, j.a.panese, Russian, Italian--there must be no discrimination by the loyal student who should willingly draw from any and every source with an open mind and a stern resolve to render unto all their dues. I care not on what stream of knowledge he may embark, follow up its course, and the rivulets that feed it flow from many lands. If the work is to be effective he must keep in touch with scholars in other countries. How often has it happened that years of precious time have been given to a problem already solved or shown to be insoluble, because of the ignorance of what had been done elsewhere. And it is not only book knowledge and journal knowledge, but a knowledge of men that is needed.

The student will, if possible, see the men in other lands. Travel not only widens the vision and gives certainties in place of vague surmises, but the personal contact with foreign workers enables him to appreciate better the failings or successes in his own line of work, perhaps to look with more charitable eyes on the work of some brother whose limitations and opportunities have been more restricted than his own.

Or, in contact with a mastermind, he may take fire, and the glow of the enthusiasm may be the inspiration of his life. Concentration must then be a.s.sociated with large views on the relation of the problem, and a knowledge of its status elsewhere; otherwise it may land him in the slough of a specialism so narrow that it has depth and no breadth, or he may be led to make what he believes to be important discoveries, but which have long been current coin in other lands. It is sad to think that the day of the great polymathic student is at an end; that we may, perhaps, never again see a Scaliger, a Haller, or a Humboldt--men who took the whole field of knowledge for their domain and viewed it as from a pinnacle. And yet a great specializing generalist may arise, who can tell? Some twentieth-century Aristotle may be now tugging at his bottle, as little dreaming as are his parents or his friends of a conquest of the mind, beside which the wonderful victories of the Stagirite will look pale. The value of a really great student to the country is equal to half a dozen grain elevators or a new trans-continental railway. He is a commodity singularly fickle and variable, and not to be grown to order. So far as his advent is concerned there is no telling when or where he may arise. The conditions seem to be present even under the most unlikely externals. Some of the greatest students this country has produced have come from small villages and country places. It is impossible to predict from a study of the environment, which a "strong propensity of nature," to quote Milton's phrase again, will easily bend or break.

The student must be allowed full freedom in his work, undisturbed by the utilitarian spirit of the Philistine, who cries, Cui bono? and distrusts pure science. The present remarkable position in applied science and in industrial trades of all sorts has been made possible by men who did pioneer work in chemistry, in physics, in biology, and in physiology, without a thought in their researches of any practical application. The members of this higher group of productive students are rarely understood by the common spirits, who appreciate as little their unselfish devotion as their unworldly neglect of the practical side of the problems.

Everywhere now the medical student is welcomed as an honored member of the guild. There was a time, I confess, and it is within the memory of some of us, when, like Falstaff, he was given to "taverns and sack and wine and metheglins, and to drinkings and swearings and starings, pribbles and prabbles"; but all that has changed with the curriculum, and the "Meds" now roar you as gently as the "Theologs." On account of the peculiar character of the subject-matter of your studies, what I have said upon the general life and mental att.i.tude of the student applies with tenfold force to you. Man, with all his mental and bodily anomalies and diseases--the machine in order, the machine in disorder, and the business yours to put it to rights. Through all the phases of its career this most complicated mechanism of this wonderful world will be the subject of our study and of your care--the naked, new-born infant, the artless child, the lad and the la.s.sie just aware of the tree of knowledge overhead, the strong man in the pride of life, the woman with the benediction of maternity on her brow, and the aged, peaceful in the contemplation of the past. Almost everything has been renewed in the science and in the art of medicine, but all through the long centuries there has been no variableness or shadow of change in the essential features of the life which is our contemplation and our care. The sick love-child of Israel's sweet singer, the plague-stricken hopes of the great Athenian statesman, Elpenor, bereft of his beloved Artemidora, and "Tully's daughter mourned so tenderly," are not of any age or any race--they are here with us to-day, with the Hamlets, the Ophelias, and the Lears. Amid an eternal heritage of sorrow and suffering our work is laid, and this eternal note of sadness would be insupportable if the daily tragedies were not relieved by the spectacle of the heroism and devotion displayed by the actors. Nothing will sustain you more potently than the power to recognize in your humdrum routine, as perhaps it may be thought, the true poetry of life--the poetry of the commonplace, of the ordinary man, of the plain, toilworn woman, with their loves and their joys, their sorrows and their griefs. The comedy, too, of life will be spread before you, and n.o.body laughs more often than the doctor at the pranks Puck plays upon the t.i.tanias and the Bottoms among his patients. The humorous side is really almost as frequently turned towards him as the tragic. Lift up one hand to heaven and thank your stars if they have given you the proper sense to enable you to appreciate the inconceivably droll situations in which we catch our fellow creatures. Unhappily, this is one of the free gifts of the G.o.ds, unevenly distributed, not bestowed on all, or on all in equal portions.

In undue measure it is not without risk, and in any case in the doctor it is better appreciated by the eye than expressed on the tongue.

Hilarity and good humor, a breezy cheerfulness, a nature "sloping toward the southern side," as Lowell has it, help enormously both in the study and in the practice of medicine. To many of a somber and sour disposition it is hard to maintain good spirits amid the trials and tribulations of the day, and yet it is an unpardonable mistake to go about among patients with a long face.

Divide your attentions equally between books and men. The strength of the student of books is to sit still--two or three hours at a stretch--eating the heart out of a subject with pencil and notebook in hand, determined to master the details and intricacies, focussing all your energies on its difficulties. Get accustomed to test all sorts of book problems and statements for yourself, and take as little as possible on trust. The Hunterian "Do not think, but try" att.i.tude of mind is the important one to cultivate. The question came up one day, when discussing the grooves left on the nails after fever, how long it took for the nail to grow out, from root to edge. A majority of the cla.s.s had no further interest; a few looked it up in books; two men marked their nails at the root with nitrate of silver, and a few months later had positive knowledge on the subject. They showed the proper spirit. The little points that come up in your reading try to test for yourselves. With one fundamental difficulty many of you will have to contend from the outset--a lack of proper preparation for really hard study. No one can have watched successive groups of young men pa.s.s through the special schools without profoundly regretting the haphazard, fragmentary character of their preliminary education. It does seem too bad that we cannot have a student in his eighteenth year sufficiently grounded in the humanities and in the sciences preliminary to medicine--but this is an educational problem upon which only a Milton or a Locke could discourse with profit. With pertinacity you can overcome the preliminary defects and once thoroughly interested, the work in books becomes a pastime. A serious drawback in the student life is the self-consciousness, bred of too close devotion to books. A man gets shy, "dysopic," as old Timothy Bright calls it, and shuns the looks of men, and blushes like a girl.

The strength of a student of men is to travel--to study men, their habits, character, mode of life, their behavior under varied conditions, their vices, virtues, and peculiarities. Begin with a careful observation of your fellow students and of your teachers; then, every patient you see is a lesson in much more than the malady from which he suffers. Mix as much as you possibly can with the outside world, and learn its ways. Cultivated systematically, the student societies, the students' union, the gymnasium, and the outside social circle will enable you to conquer the diffidence so apt to go with bookishness and which may prove a very serious drawback in after-life. I cannot too strongly impress upon the earnest and attentive men among you the necessity of overcoming this unfortunate failing in your student days.

It is not easy for every one to reach a happy medium, and the distinction between a proper self-confidence and "cheek," particularly in junior students, is not always to be made. The latter is met with chiefly among the student pilgrims who, in traveling down the Delectable Mountains, have gone astray and have pa.s.sed to the left hand, where lieth the country of Conceit, the country in which you remember the brisk lad Ignorance met Christian.

I wish we could encourage on this continent among our best students the habit of wandering. I do not know that we are quite prepared for it, as there is still great diversity in the curricula, even among the leading schools, but it is undoubtedly a great advantage to study under different teachers, as the mental horizon is widened and the sympathies enlarged. The practice would do much to lessen that narrow "I am of Paul and I am of Apollos" spirit which is hostile to the best interests of the profession.

There is much that I would like to say on the question of work, but I can spare only a few moments for a word or two. Who will venture to settle upon so simple a matter as the best time for work? One will tell us there is no best time; all are equally good; and truly, all times are the same to a man whose soul is absorbed in some great problem. The other day I asked Edward Martin, the well-known story-writer, what time he found best for work. "Not in the evening, and never between meals!"

was his answer, which may appeal to some of my hearers. One works best at night; another, in the morning; a majority of the students of the past favor the latter. Erasmus, the great exemplar, says, "Never work at night; it dulls the brain and hurts the health." One day, going with George Ross through Bedlam, Dr. Savage, at that time the physician in charge, remarked upon two great groups of patients--those who were depressed in the morning and those who were cheerful, and he suggested that the spirits rose and fell with the bodily temperature--those with very low morning temperatures were depressed, and vice versa. This, I believe, expresses a truth which may explain the extraordinary difference in the habits of students in this matter of the time at which the best work can be done. Outside of the asylum there are also the two great types, the student-lark who loves to see the sun rise, who comes to breakfast with a cheerful morning face, never so "fit" as at 6 A. M.

We all know the type. What a contrast to the student-owl with his saturnine morning face, thoroughly unhappy, cheated by the wretched breakfast bell of the two best hours of the day for sleep, no appet.i.te, and permeated with an unspeakable hostility to his vis-a-vis, whose morning garrulity and good humor are equally offensive. Only gradually, as the day wears on and his temperature rises, does he become endurable to himself and to others. But see him really awake at 10 P. M. while our blithe lark is in hopeless coma over his books, from which it is hard to rouse him sufficiently to get his boots off for bed, our lean owl-friend, Saturn no longer in the ascendant, with bright eyes and cheery face, is ready for four hours of anything you wish--deep study, or

Heart affluence in discoursive talk,

and by 2 A. M. he will undertake to unsphere the spirit of Plato. In neither a virtue, in neither a fault we must recognize these two types of students, differently const.i.tuted, owing possibly--though I have but little evidence for the belief--to thermal peculiarities.

THE DECLINE OF THE DRAMA

_By_ STEPHEN LEAc.o.c.k

Nineteen hundred and ten was an important year. Halley's comet came along, and some predicted the End of the World. And Stephen Leac.o.c.k's first _humorous_ book--_Literary Lapses_--was published.

First humorous book, I said, for Mr. Leac.o.c.k--who is professor of political economy at McGill University, Montreal--had published his _Elements of Political Science_ in 1906.

It seems to me that I have heard that _Literary Lapses_ was obscurely or privately published in Canada before 1910; that Mr.

John Lane, the famous London publisher, was given a copy by some one as he got on a steamer to go home to England; that he read it on the voyage and cabled an offer for it as soon as he landed. This is very vague in my mind, but it sounds probable. At any rate, since that time Professor Leac.o.c.k's humorous volumes have appeared with gratifying regularity--_Nonsense Novels, Behind the Beyond_, etc.; and some more serious books too, such as Essays and _Literary Studies_ and The _Unsolved Riddle of Social Justice_. One of the unsolved riddles of social injustice is, why should Professor Leac.o.c.k be so much more amusing than most people?

We usually think of him as a Canadian, but he was born in England in 1869.

Coming up home the other night in my car (the Guy Street car), I heard a man who was hanging onto a strap say: "The drama is just turning into a bunch of talk." This set me thinking; and I was glad that it did, because I am being paid by this paper to think once a week, and it is wearing. Some days I never think from morning till night.

This decline of the drama is a thing on which I feel deeply and bitterly; for I am, or I have been, something of an actor myself. I have only been in amateur work, I admit, but still I have played some mighty interesting parts. I have acted in Shakespeare as a citizen, I have been a fairy in "A Midsummer Night's Dream," and I was once one end (choice of ends) of a camel in a pantomime. I have had other parts too, such as "A Voice Speaks From Within," or "A Noise Is Heard Without," or a "Bell Rings From Behind," and a lot of things like that. I played as A Noise for seven nights, before crowded houses where people were being turned away from the door; and I have been a Groan and a Sigh and a Tumult, and once I was a "Vision Pa.s.ses Before the Sleeper."

So when I talk of acting and of the spirit of the Drama, I speak of what I know.

Naturally, too, I was brought into contact, very often into quite intimate personal contact, with some of the greatest actors of the day.

I don't say it in any way of boasting, but merely because to those of us who love the stage all dramatic souvenirs are interesting. I remember, for example, that when Wilson Barrett played "The Bat" and had to wear the queer suit with the scales, it was I who put the glue on him.

And I recall a conversation with Sir Henry Irving one night when he said to me, "Fetch me a gla.s.s of water, will you?" and I said, "Sir Henry, it is not only a pleasure to get it but it is to me, as a humble devotee of the art that you have enn.o.bled, a high privilege. I will go further--" "Do," he said. Henry was like that, quick, sympathetic, what we call in French "vibrant."

Forbes Robertson I shall never forget: he owes me 50 cents. And as for Martin Harvey--I simply cannot call him Sir John, we are such dear old friends--he never comes to this town without at once calling in my services to lend a hand in his production. No doubt everybody knows that splendid play in which he appears, called "The Breed of the Treshams."

There is a torture scene in it, a most gruesome thing. Harvey, as the hero, has to be tortured, not on the stage itself, but off the stage in a little room at the side. You can hear him howling as he is tortured.

Well, it was I who was torturing him. We are so used to working together that Harvey didn't want to let anybody do it but me.

So naturally I am a keen friend and student of the Drama: and I hate to think of it going all to pieces.

The trouble with it is that it is becoming a mere ma.s.s of conversation and reflection: nothing happens in it; the action is all going out of it and there is nothing left but thought. When actors begin to think, it is time for a change. They are not fitted for it.

Now in my day--I mean when I was at the apogee of my reputation (I think that is the word--it may be apologee--I forget)--things were very different. What we wanted was action--striking, climatic, catastrophic action, in which things not only happened, but happened suddenly and all in a lump.

And we always took care that the action happened in some place that was worth while, not simply in an ordinary room with ordinary furniture, the way it is in the new drama. The scene was laid in a lighthouse (top story), or in a mad house (at midnight), or in a power house, or a dog house, or a bath house, in short, in some place with a distinct local color and atmosphere.

I remember in the case of the first play I ever wrote (I write plays, too) the manager to whom I submitted it asked me at once, the moment he glanced at it, "Where is the action of this laid?" "It is laid," I answered, "in the main sewer of a great city." "Good, good," he said; "keep it there."

In the case of another play the manager said to me, "What are you doing for atmosphere?" "The opening act," I said, "is in a steam laundry."

"Very good," he answered as he turned over the pages, "and have you brought in a condemned cell?" I told him that I had not. "That's rather unfortunate," he said, "because we are especially anxious to bring in a condemned cell. Three of the big theaters have got them this season, and I think we ought to have it in. Can you do it?" "Yes," I said, "I can, if it's wanted. I'll look through the cast, and no doubt I can find one at least of them that ought to be put to death." "Yes, yes," said the manager enthusiastically, "I am sure you can."

But I think of all the settings that we used, the lighthouse plays were the best. There is something about a lighthouse that you don't get in a modern drawing room. What it is, I don't know; but there's a difference.

I always have liked a lighthouse play, and never have enjoyed acting so much, have never thrown myself into acting so deeply, as in a play of that sort.

There is something about a lighthouse--the way you see it in the earlier scenes--with the lantern s.h.i.+ning out over the black waters that suggests security, fidelity, faithfulness, to a trust. The stage used generally to be dim in the first part of a lighthouse play, and you could see the huddled figures of the fishermen and their wives on the foresh.o.r.e pointing out to the sea (the back of the stage).

"See," one cried with his arm extended, "there is lightning in yon sky."

(I was the lightning and that my cue for it): "G.o.d help all the poor souls at sea to-night!" Then a woman cried, "Look! Look! a boat upon the reef!" And as she said it I had to rush round and work the boat to make it go up and down properly. Then there was more lightning, and some one screamed out, "Look! See! there's a woman in the boat!"

There wasn't really; it was me; but in the darkness it was all the same, and of course the heroine herself couldn't be there yet because she had to be downstairs getting dressed to be drowned. Then they all cried out, "Poor soul! she's doomed," and all the fishermen ran up and down making a noise.

Fishermen in those plays used to get fearfully excited; and what with the excitement and the darkness and the bright beams of the lighthouse falling on the wet oilskins, and the thundering of the sea upon the reef--ah! me, those were plays! That was acting! And to think that there isn't a single streak of lightning in any play on the boards this year!

And then the kind of climax that a play like this used to have! The scene s.h.i.+fted right at the moment of the excitement, and lo! we are in the tower, the top story of the lighthouse, interior scene. All is still and quiet within, with the bright light of the reflectors flooding the little room, and the roar of the storm heard like m.u.f.fled thunder outside.

The lighthouse keeper trims his lamps. How firm and quiet and rugged he looks. The snows of sixty winters are on his head, but his eye is clear and his grip strong. Hear the howl of the wind as he opens the door and steps forth upon the iron balcony, eighty feet above the water, and peers out upon the storm.

"G.o.d pity all the poor souls at sea!" he says. (They all say that. If you get used to it, and get to like it, you want to hear it said, no matter how often they say it.) The waves rage beneath him. (I threw it at him, really, but the effect was wonderful.)

And then, as he comes in from the storm to the still room, the climax breaks. A man staggers into the room in oilskins, drenched, wet, breathless. (They all staggered in these plays, and in the new drama they walk, and the effect is feebleness itself.) He points to the sea.

"A boat! A boat upon the reef! With a woman in it."