In all this, of course, there is nothing new. Other and better men have noted the damage that the personal equation does to music, and some of them have even sought ways out. For example, Richard Strauss. His so-called ballet, "Josefs Legend," produced in Paris just before the war, is an attempt to write an opera without singers. All of the music is in the orchestra; the folks on the stage merely go through a pointless pantomime; their main function is to entertain the eye with shifting colors. Thus, the romantic sentiments of Joseph are announced, not by some eye-rolling tenor, but by the first, second, third, fourth, fifth, sixth, seventh and eighth violins (it is a Strauss score!), with the incidental aid of the wood-wind, the brass, the percussion and the rest of the strings. And the heroine's reply is made, not by a soprano with a cold, but by an honest man playing a flute. The next step will be the substitution of marionettes for actors. The removal of the orchestra to a sort of trench, out of sight of the audience, is already an accomplished fact at Munich. The end, perhaps, will be music purged of its current ptomaines. In brief, music.
XXXVI
ZOOS
I often wonder how much sound and nourishing food is fed to the animals in the zoological gardens of America every week, and try to figure out what the public gets in return for the cost thereof. The annual bill must surely run into millions; one is constantly hearing how much beef a lion downs at a meal, and how many tons of hay an elephant dispatches in a month. And to what end? To the end, principally, that a horde of superintendents and keepers may be kept in easy jobs. To the end, secondarily, that the least intelligent minority of the population may have an idiotic show to gape at on Sunday afternoons, and that the young of the species may be instructed in the methods of amour prevailing among chimpanzees and become privy to the technic employed by jaguars, hyenas and polar bears in ridding themselves of lice.
So far as I can make out, after laborious visits to all the chief zoos of the nation, no other imaginable purpose is served by their existence. One hears constantly, true enough (mainly from the gentlemen they support) that they are educational. But how? Just what sort of instruction do they radiate, and what is its value? I have never been able to find out. The sober truth is that they are no more educational than so many firemen's parades or displays of sky-rockets, and that all they actually offer to the public in return for the taxes wasted upon them is a form of idle and witless amusement, compared to which a visit to a penitentiary, or even to Congress or a state legislature in session, is informing, stimulating and ennobling.
Education your grandmother! Show me a schoolboy who has ever learned anything valuable or important by watching a mangy old lion snoring away in its cage or a family of monkeys fighting for peanuts. To get any useful instruction out of such a spectacle is palpably impossible; not even a college professor is improved by it. The most it can imaginably impart is that the stripes of a certain sort of tiger run one way and the stripes of another sort some other way, that hyenas and polecats smell worse than Greek 'bus boys, that the Latin name of the raccoon (who was unheard of by the Romans) is Procyon lotor. For the dissemination of such banal knowledge, absurdly emitted and defectively taken in, the taxpayers of the United States are mulcted in hundreds of thousands of dollars a year. As well make them pay for teaching policemen the theory of least squares, or for instructing roosters in the laying of eggs.
But zoos, it is argued, are of scientific value. They enable learned men to study this or that. Again the facts blast the theory. No scientific discovery of any value whatsoever, even to the animals themselves, has ever come out of a zoo. The zoo scientist is the old woman of zoology, and his alleged wisdom is usually exhibited, not in the groves of actual learning, but in the yellow journals. He is to biology what the late Camille Flammarion was to astronomy, which is to say, its court jester and reductio ad absurdum. When he leaps into public notice with some new pearl of knowledge, it commonly turns out to be no more than the news that Marie Bashkirtseff, the Russian lady walrus, has had her teeth plugged with zinc and is expecting twins. Or that Pishposh, the man-eating alligator, is down with locomotor ataxia. Or that Damon, the grizzly, has just finished his brother Pythias in the tenth round, chewing off his tail, nose and remaining ear.
Science, of course, has its uses for the lower animals. A diligent study of their livers and lights helps to an understanding of the anatomy and physiology, and particularly of the pathology, of man. They are necessary aids in devising and manufacturing many remedial agents, and in testing the virtues of those already devised; out of the mute agonies of a rabbit or a calf may come relief for a baby with diphtheria, or means for an archdeacon to escape the consequences of his youthful follies. Moreover, something valuable is to be got out of a mere study of their habits, instincts and ways of mind—knowledge that, by analogy, may illuminate the parallel doings of the genus homo, and so enable us to comprehend the primitive mental processes of Congressmen, morons and the rev. clergy.
But it must be obvious that none of these studies can be made in a zoo. The zoo animals, to begin with, provide no material for the biologist; he can find out no more about their insides than what he discerns from a safe distance and through the bars. He is not allowed to try his germs and specifics upon them; he is not allowed to vivisect them. If he would find out what goes on in the animal body under this condition or that, he must turn from the inhabitants of the zoo to the customary guinea pigs and street dogs, and buy or steal them for himself. Nor does he get any chance for profitable inquiry when zoo animals die (usually of lack of exercise or ignorant doctoring), for their carcasses are not handed to him for autopsy, but at once stuffed with gypsum and excelsior and placed in some museum.