It is a matter of daily occurrence to find a number of persons dining in a room where there is no opening for the contaminated air to leak out, or for the fresh air to come in. After dinner the gentlemen adjourn to the library to enjoy the sweet perfumes of smoking for an hour or so with closed windows. What a picture would be presented if the bacteria in the air could be sketched, enlarged, and thrown on a screen, or better still shown in a cinematograph, but apparently gentlemen do not mind anything so long as they can inhale the pernicious tobacco fumes.
It is a common practice, I fear, to keep the windows of the bedroom closed, except in hot weather. I have often suggested to friends that, for the sake of their health, they should at least keep one of the windows, if not more, open during the night, but they have pooh-poohed the idea on account of that bugaboo—a draught. It is one of the mysteries of the age that people should be willing to breathe second-hand air when there is so much pure, fresh air out of doors to be had for nothing; after inhaling and exhaling the same air over and over again all through the night it is not strange that they rise in the morning languid and dull instead of being refreshed and in high spirits. No one who is deprived of a sufficiency of fresh air can long remain efficient. Health is the cornerstone of success. I hear many nowadays talking of Eugenics. Eugenics was founded ten years ago by Sir Francis Galton, who defined it thus: "The study of agencies under control that may improve or impair the racial qualities of future generations, either physically or mentally." The University of London has adopted this definition, where a chair of Eugenics has been founded. This science is undoubtedly of the first importance, but what advantage is good birth if afterward life is poisoned with foul air? A dust-laden atmosphere is a germ-laden atmosphere, therefore physicians prescribe for tubercular convalescents conditions in which the air is 90% free from dust. However, the air of the city has been scientifically proven to be as pure as the air of the country. All that is necessary to secure proper lung food is plenty of it,—houses so constructed that the air inside shall be free to go out and the air outside to come in. Air in a closed cage must be mischievous, and what are ill-ventilated rooms but vicious air cages, in which mischiefs of all sorts breed?
America professes to believe in publicity, and what is "publicity" but the open window and the open door? Practise this philosophy and it will be easy to keep on the sunny side of the street and to discourage the glooms. The joys fly in at open windows.
[1] I have never been a smoker and have always eschewed tobacco, cigarettes, etc.; though for a short while to oblige friends I occasionally accepted a cigarette, now I firmly refuse everything of the sort.
[2] Since writing the above, I have heard from an American lady that "progressive dinners" have recently been introduced by the idle and rich set of young people in New York. The modus operandi is that several dinners will, by arrangement, be given on a certain day, and the guests will go to each house alternately, eating one or two dishes only and remaining at the last house for fruit. I can hardly believe this, but my friend assures me it is a fact. It seems that eating is turned into play, and to appreciate the fun, I would like to be one of the actors.
[3] "The Living Temple", by J. H. Kellogg, pp. 282 et al. Published by Good Health Publishing Co., Battle Creek, Mich., U.S.A.
Chapter 14. Theaters
The ideal of China is sincerity but an actor is a pretender. He appears to be what he is not. Now our ancient wise men felt that pretense of any sort must have a dangerous reactionary influence on the character. If a man learns how to be a clever actor on the stage he may be a skilled deceiver in other walks of life. Moreover, no one to whom sincerity is as the gums are to the teeth, would wish to acquire the art of acting as though he were some one else. Hence actors in China have from ancient times been looked down upon. Actresses, until the last decade or so, were unknown in China, and a boy who became an actor could never afterward occupy any position of honor. He, his children and his grandchildren might be farmers, merchants or soldiers, but they could never be teachers, literary men or officials. The Chinese feeling for sincerity, amounting almost to worship, has caused the profession of an actor in China to be considered a very low one, and so until the new regime the actor was always debarred from attending any literary examination, and was also deprived of the privilege of obtaining official appointment; in fact he was considered an outcast of society. No respectable Chinese family would think of allowing their son to go on the stage. As a natural consequent the members of the Chinese stage have, as a rule, been men who were as much below the level of moral respectability as conventionalism had already adjudged them to be below the level of social respectability. Regard anyone as a mirror with a cracked face and he will soon justify your opinion of him. If the morals of Chinese actors will not bear investigation it is probably due to the social ostracism to which they have always been subjected. The same phenomenon may be seen in connection with Buddhism. As soon as Buddhism in China ceased to be a power the priests became a despised class and being despised they have often given occasion to others to despise them.
I am aware that quite a different view is held of the stage in America and Europe, and that actors and actresses are placed on an equal footing with other members of society. This does not, of course, mean that either America or Europe lays less stress on sincerity than China, but simply that we have developed in different ways. I have heard of the old "morality plays", I know that English drama, like the Egyptian, Greek, and Indian, had its origin in religion, but this alone will not explain the different attitude assumed toward actors in the West from that taken up in China.[1] I am inclined to think that the reason why actors are not despised in the West as they are in China is because the West considers first the utility of pleasure, and the East the supremacy of sincerity. Here, as is so frequently the case, apparent differences are largely differences of emphasis. The West would seem to emphasize the beauty of the desire to please where Chinese consider the effect on character or business. The expensive dinners which no one eats and which I discussed in a previous chapter are an illustration. No one in China would spend money in this fashion excepting for some definite purpose.