[p 40]
]“Man,” as they sing in “Princess Ida,” “is nature’s sole mistake.” And he never appears more of a rummy than when some woman kills herself for him, in his embarrassed presence. His first thought is always of himself.
A history exam in a public school contains this delightful information: “Patrick Henry said, ‘I rejoice that I have but one country to live for.’”
Time travels in divers paces with divers persons. There are some who, like a certain capable rounder, lately departed, have time to manage a large business, maintain two or more domestic establishments, razz, jazz, get drunk, and fight; while others of us cannot find time in the four and twenty hours to do half the things we wish to achieve. Although your orator has nothing to do but “write a few headlines and go home,” as Old Bill Byrne says, night overtakes him with half his chores undone. Time gallops withal.
“They know what they like.”
There are exceptions. The author of “Set Down in Malice” mentions a number, the most conspicuous being Ernest Newman. And we recall an exception, Mr. Jimmie Whittaker, merriest of critics, who was so far from knowing what he liked that he adopted the plan, in considering the Symphony concerts, of praising the even [p 41] />]numbers one week and damning the even numbers the following week.
Like Ernest Newman, we shall never again hear the Chopin Funeral March without being reminded of Mr. Sidgwick’s summary: “Most funeral marches seem to cheer up in the middle and become gloomy again. I suppose the idea is, (1) the poor old boy’s dead; (2) well, after all, he’s probably gone to heaven; (3) still, anyhow, the poor old boy’s dead.”
Our readers, we swear, know everything. One of them writes from La Crosse that Debussy’s “Canope” has nothing to do with the planet Canopus, but refers to the ancient Egyptian city of that name. Mebbe so (we should like proof of it), but what of it?—as Nero remarked when they told him Rome was afire. The Debussy music does as well for the star as for the city. It is ethereal, far away, and it leaves off in mid-air. There is a passage in “Orpheus and Eurydice” which is wedded to words expressing sorrow; but, as has been pointed out, the music would go as well or better with words expressing joy.
“Lincoln,” observed Old Bill Byrne, inserting a meditative pencil in the grinder, “said you can fool all the people some of the time. But that [p 42] />]was in the sixties, before the Colyum had developed a bunch of lynx-eyed, trigger-brained, hawk-swooping, owl-pouncing fans that nobody can fool for a holy minute.”
Fishing for errors in a proof-room is like fishing for trout: the big ones always get away. Or, as Old Bill Byrne puts it, while you’re fishing for a minnow a whale comes up and bites you in the leg.
Whene’er we take our walks abroad we meet acquaintances who view with alarm the immediate future of the self-styled human race; but we find ourself unable to share their apprehension. We do not worry about lead, or iron, or any other element. And human nature is elemental. You can flatten it, as in Russia; you can bend, and twist, and pound it into various forms, but you cannot decompose it. And so the “new order,” while perhaps an improvement on the old, will not be so very different. Britannia will go on ruling the waves, and Columbia, not Utopia, will be the gem of the ocean.