The trainer who has been selected to create a specified group spends practically his entire time with his pupils. He feeds them, and mixes with them daily and hourly. From the beginning he teaches them that they must obey him, and not fight. The work of training begins with simple things, and goes on to the complex; and each day the same routine is carried out. To each animal is assigned a certain place in the circle, with a certain tub or platform on which to sit at ease when not acting in the ring. It is exceedingly droll to see a dozen cub lions, tigers, bears and cheetahs sitting decorously on their respective tubs and gravely watching the thirteenth cub who is being labored with by the keeper to bring its ideas and acts into line. The stage properties are many; and they all assist in helping the actors to remember the sequence of their acts, as well as the things to be done. The key that controls the mind of a good animal is the reward idea. Many a really bad animal goes through its share of the performance solely to secure the bit of meat, the lump of sugar or the prized biscuit that never fails to show up at the proper moment.
[Illustration with caption: WORK ELEPHANT DRAGGING A HEWN TIMBER
The most primitive form of elephant harness. The end of the drag
rope is held between the teeth of the wise and patient animal
(From A. G. R. Theobald, Mysore)]
The acts to be performed are gone over in the training quarters, innumerable times; and this continues so long that by the time the "group" is ready for the stage, behold! the cubs with which the patient and tireless trainer began have grown so large that to the audience they now seem like adult and savage animals. Those who scoff at the wild animal mind, and say that all this displays nothing but "machines in fur" need to be reminded that this very same line of effort in training and rehearsal is absolutely necessary in the production of every military company, every ballet, and every mass performance on the stage. There is no successful performance without training. Boys and girls require the very same sort of handling that the wild animals receive, but the humans do with a little less of it.
The man who flouts a good stage performance by wild animals on the ground that it reveals "no thought," and is only "imitation," is, in my judgment, a very short-sighted student. Maniacs and imbeciles cannot be trained to perform any program fit to be seen. I saw that tried fifty years ago, in "the wild Australian children," who were idiots. The performer must think, and reason.
Of the many groups of trained animals that I have seen in performances, my mind goes back first to the one which contained a genuine bear comedian, of the Charlie Chaplin type. It was a Himalayan black bear, with fine side whiskers, and it really seemed to me absolutely certain that the other animals in the group appreciated and enjoyed the fun that comedian made. He pretended to be awkward, and frequently fell off his tub. He was purposely dilatory, and was often the last one to finish. The other animals seemed to be fascinated by his mishaps, and they sat on their tubs and watched him with what looked like genuine amusement. I remember another circle of seated animals who calmly and patiently sat and watched while the trainer labored with a cross and refractory leopard, to overcome its stubbornness, and to make it do its part.
Carl Hagenbeck loved to produce mixed groups of dangerous animals,—lions, tigers, leopards, bears and wolves. One trainer whom I knew was assisted in a highly dangerous group by a noble stag-hound who habitually kept close to his master, and was said to be ready to attack instantly any animal that might attack the trainer. I never saw a finer bodyguard than that dog.
In 1908 the most astounding animal group ever turned out of the Hagenbeck establishment, or shown on any stage, appeared in London. It consisted of 75 full-grown polar bears! Now, polar bears, either for the cage or the stage, are bad citizens. Instinctively I always suspect their mental reservations, and for twenty-one years have carefully kept our keepers out of their reach. But Mr. William Hagenbeck, brother of the great Carl, actually trained and performed with a huge herd of dangerous polars to the number stated.
In the Strand magazine for April, 1908, there is a fine article by Arthur Harold about this group and its production. It says that the bears were obtained when seven or eight months old, in large lots, and all thrown in together. It took a keeper between seven and eight months to educate them out of their savage state,—by contact, kindness, sugar and fruit,—and then they were turned over to the trainer, Mr. Hagenbeck. They were taught to form pyramids, climb ladders, shoot the chutes, ride in pony carriages, draw and ride in sleds, drink from bottles, and work a see-saw. Various individuals did individual tricks. The star performer was Monk, the wrestling bear, who went with his trainer through a fearsome wrestling performance.
Concerning the temperament of that polar bear group Mr. William
Hagenbeck said:
"Although I know every animal in the company, have taught each one to recognize me, and have been among many of them for fifteen years, I can not now tell by their expressions the moods of the animals. This is one of the characteristics of the polar bear. Their expression remains the same, and it is impossible to detect by watching their faces whether they are pleased or cross. Now in most wild animals, such as the lion, you can tell by the expression of the beast's face and by its actions whether it is in a good temper or not…. The truth is, the polar bear is a most awkward beast to train. In the first place its character is difficult to understand. He is by nature very suspicious, and without the least warning is apt to turn upon his trainer. Among the seventy bears that have been taught to do tricks, only two of them are really fond of their work."