“The change seems to be a popular one,” I said, “to judge by the crowd of book-buyers.” For the counters were, indeed, thronged with customers as I had never seen those of a bookstore before.
“The people at those counters are not purchasers, but borrowers,” Hamage replied; and then he explained that whereas the old-fashioned printed book, being handled by the reader, was damaged by use, and therefore had either to be purchased outright or borrowed at high rates of hire, the phonograph of a book being not handled, but merely revolved in a machine, was but little injured by use, and therefore phonographed books could be lent out for an infinitesimal price. Everybody had at home a phonograph box of standard size and adjustments, to which all phonographic cylinders were gauged. I suggested that the phonograph, at any rate, could scarcely have replaced picture-books. But here, it seemed, I was mistaken, for it appeared that illustrations were adapted to phonographed books by the simple plan of arranging them in a continuous panorama, which by a connecting gear was made to unroll behind the glass front of the phonograph case as the course of the narrative demanded.
“But, bless my soul!” I exclaimed, “everybody surely is not content to borrow their books? They must want to have books of their own, to keep in their libraries.”
“Of course,” said Hamage. “What I said about borrowing books applies only to current literature of the ephemeral sort. Everybody wants books of permanent value in his library. Over yonder is the department of the establishment set apart for book-buyers.”
The counter which he indicated being less crowded than those of the borrowing department, I expressed a desire to examine some of the phonographed books. As we were waiting for attendance, I observed that some of the customers seemed very particular about their purchases, and insisted upon testing several phonographs bearing the same title before making a selection. As the phonographs seemed exact counterparts in appearance, I did not understand this till Hamage explained that differences as to style and quality of elocution left quite as great a range of choice in phonographed books as varieties in type, paper, and binding did in printed ones. This I presently found to be the case when the clerk, under Ham-age's direction, began waiting on me. In succession I tried half a dozen editions of Tennyson by as many different elocutionists, and by the time I had heard
“Where Claribel low lieth”
rendered by a soprano, a contralto, a bass, and a baritone, each with the full effect of its quality and the personal equation besides, I was quite ready to admit that selecting phonographed books for one's library was as much more difficult as it was incomparably more fascinating than suiting one's self with printed editions. Indeed, Hamage admitted that nowadays nobody with any taste for literature—if the word may for convenience be retained—thought of contenting himself with less than half a dozen renderings of the great poets and dramatists. “By the way,” he said to the clerk, “won't you just let my friend try the Booth-Barrett Company's 'Othello'? It is, you understand,” he added to me, “the exact phonographic reproduction of the play as actually rendered by the company.”
Upon his suggestion, the attendant had taken down a phonograph case and placed it on the counter. The front was an imitation of a theatre with the curtain down. As I placed the transmitter to my ears, the clerk touched a spring and the curtain rolled up, displaying a perfect picture of the stage in the opening scene. Simultaneously the action of the play began, as if the pictured men upon the stage were talking. Here was no question of losing half that was said and guessing the rest. Not a word, not a syllable, not a whispered aside of the actors, was lost; and as the play proceeded the pictures changed, showing every important change of attitude on the part of the actors. Of course the figures, being pictures, did not move, but their presentation in so many successive attitudes presented the effect of movement, and made it quite possible to imagine that the voices in my ears were really theirs. I am exceedingly fond of the drama, but the amount of effort and physical inconvenience necessary to witness a play has rendered my indulgence in this pleasure infrequent. Others might not have agreed with me, but I confess that none of the ingenious applications of the phonograph which I had seen seemed to be so well worth while as this.
Hamage had left me to make his purchases, and found me on his return still sitting spellbound.
“Come, come,” he said, laughing, “I have Shakespeare complete at home, and you shall sit up all night, if you choose, hearing plays. But come along now, I want to take you upstairs before we go.”