ROBERT GREEN INGERSOLL

[Speech of Thomas H. Huxley at the annual banquet of the Royal Academy, London, May 5, 1883. Sir Frederic Leighton, President of the Academy, said in introducing him: "With science I couple the name under which we know one of the most fearless, keen and lucid intellects which have ever in this country grappled with the problems of natural science and set them solved before us, the name of Professor Huxley [cheers], a name known far and wide wherever the pregnant science of biology is studied, and through the vehicle of other tongues besides that strong and trenchant English with which he is wont to strike his thoughts so vigorously home."]

Sir Frederic Leighton, Your Royal Highnesses, My Lords and Gentlemen:—I beg leave to thank you for the extremely kind and appreciative manner in which you have received the toast of Science. It is the more grateful to me to hear that toast proposed in an assembly of this kind, because I have noticed of late years a great and growing tendency among those who were once jestingly said to have been born in a pre-scientific age to look upon science as an invading and aggressive force, which if it had its own way would oust from the universe all other pursuits. I think there are many persons who look upon this new birth of our times as a sort of monster rising out of the sea of modern thought with the purpose of devouring the Andromeda of art. And now and then a Perseus, equipped with the shoes of swiftness of the ready writer, with the cap of invisibility of the editorial article, and it may be with the Medusa-head of vituperation, shows himself ready to try conclusions with the scientific dragon. Sir, I hope that Perseus will think better of it [laughter]; first, for his own sake, because the creature is hard of head, strong of jaw, and for some time past has shown a great capacity for goingover and through whatever comes in his way; and secondly, for the sake of justice, for I assure you, of my own personal knowledge that if left alone, the creature is a very debonair and gentle monster. [Laughter.] As for the Andromeda of art, he has the tenderest respect for that lady, and desires nothing more than to see her happily settled and annually producing a flock of such charming children as those we see about us. [Cheers.]

But putting parables aside, I am unable to understand how anyone with a knowledge of mankind can imagine that the growth of science can threaten the development of art in any of its forms. If I understand the matter at all, science and art are the obverse and reverse of Nature's medal, the one expressing the eternal order of things, in terms of feeling, the other in terms of thought. When men no longer love nor hate; when suffering causes no pity, and the tale of great deeds ceases to thrill, when the lily of the field shall seem no longer more beautifully arrayed than Solomon in all his glory, and the awe has vanished from the snow-capped peak and deep ravine, then indeed science may have the world to itself, but it will not be because the monster has devoured art, but because one side of human nature is dead, and because men have lost the half of their ancient and present attributes. [Cheers.]

[Speech of Robert G. Ingersoll at the banquet given in New York City, April 2, 1891, by the Liederkranz Society to Edmund C. Stanton, director of German Opera in New York, and Anton Seidl, orchestral conductor. William Steinway presided, and called upon Robert Ingersoll to speak to the toast, "Music, Noblest of the Arts."]

Robert Green Ingersoll

Mr. Toast-master:—It is probable that I was selected to speak about music, because, not knowing one note from another, I have no prejudice on the subject. All I can say is, that I know what I like, and, to tell the truth, I like every kind, enjoy it all, from the hand-organ to the orchestra.

Knowing nothing of the science of music, I am not always looking for defects, or listening for discords. As the young robin cheerfully swallows whatever comes, I hear with gladness all that is played.

Music has been, I suppose, a gradual growth, subject to the law of evolution; as nearly everything, with the possible exception of theology, has been and is under this law.

Music may be divided into three kinds: First, the music of simple time, without any particular emphasis—and this may be called the music of the heels; second, music in which time is varied, in which there is the eager haste and the delicious delay, that is, the fast and slow, in accordance with our feelings, with our emotions—and this may be called the music of the heart; third, the music that includes time and emphasis, the hastening and the delay, and something in addition, that produces not only states of feeling, but states of thought. This may be called the music of the head,—the music of the brain.

Music expresses feeling and thought, without language. It was below and before speech, and it is above and beyondall words. Beneath the waves is the sea—above the clouds is the sky.

Before man found a name for any thought, or thing, he had hopes and fears and passions, and these were rudely expressed in tones.

Of one thing, however, I am certain, and that is, that Music was born of love. Had there never been any human affection, there never could have been uttered a strain of music. Possibly some mother, looking in the eyes of her babe, gave the first melody to the enraptured air.

Language is not subtle enough, tender enough, to express all that we feel; and when language fails, the highest and deepest longings are translated into music. Music is the sunshine—the climate—of the soul, and it floods the heart with a perfect June.

I am also satisfied that the greatest music is the most marvellous mingling of Love and Death. Love is the greatest of all passions, and Death is its shadow. Death gets all its terror from Love, and Love gets its intensity, its radiance, its glory and its rapture from the darkness of Death. Love is a flower that grows on the edge of the grave.

The old music, for the most part, expresses emotion, or feeling, through time and emphasis, and what is known as melody. Most of the old operas consist of a few melodies connected by unmeaning recitative. There should be no unmeaning music. It is as though a writer should suddenly leave his subject and write a paragraph consisting of nothing but a repetition of one word like "the," "the," "the," or "if," "if," "if," varying the repetition of these words, but without meaning,—and then resume the subject of his article.

I am not saying that great music was not produced before Wagner but I am simply endeavoring to show the steps that have been taken. It was necessary that all the music should have been written, in order that the greatest might be produced. The same is true of the drama. Thousands and thousands prepared the way for the supreme dramatist, as millions prepared the way for the supreme composer.

When I read Shakespeare, I am astonished that he has expressed so much with common words, to which he gives new meaning; and so when I hear Wagner, I exclaim: Is it possible that all this is done with common air?

In Wagner's music there is a touch of chaos that suggests the infinite. The melodies seem strange and changing forms, like summer clouds, and weird harmonies come like sounds from the sea brought by fitful winds, and others moan like waves on desolate shores, and mingled with these, are shouts of joy, with sighs and sobs and ripples of laughter, and the wondrous voices of eternal love.

Wagner is the Shakespeare of Music.

The funeral march for Siegfried is the funeral music for all the dead. Should all the gods die, this music would be perfectly appropriate. It is elemental, universal, eternal.

The love-music in Tristan and Isolde is, like Romeo and Juliet an expression of the human heart for all time. So the love-duet in "The Flying Dutchman" has in it the consecration, the infinite self-denial, of love. The whole heart is given; every note has wings, and rises and poises like an eagle in the heaven of sound.

When I listen to the music of Wagner, I see pictures, forms, glimpses of the perfect, the swell of a hip, the wave of a breast, the glance of an eye. I am in the midst of great galleries. Before me are passing the endless panoramas. I see vast landscapes with valleys of verdure and vine with soaring crags, snow-crowned. I am on the wide seas, where countless billows burst into the whitecaps of joy. I am in the depths of caverns roofed with mighty crags, while through some rent I see the eternal stars. In a moment the music becomes a river of melody, flowing through some wondrous land; suddenly it falls in strange chasms, and the mighty cataract is changed to seven-hued foam.

Great music is always sad, because it tells us of the perfect; and such is the difference between what we are and that which music suggests, that even in the vase of joy we find some tears.

The music of Wagner has color, and when I hear the violins, the morning seems to slowly come. A horn puts a star above the horizon. The night, in the purple hum of the bass, wanders away like some enormous bee across wide fields of dead clover. The light grows whiter as the violins increase. Colors come from other instruments, and then the full orchestra floods the world with day.

Wagner seems not only to have given us new tones, newcombinations, but the moment the orchestra begins to play his music, all the instruments are transfigured. They seem to utter the sounds that they have been longing to utter. The horns run riot; the drums and cymbals join in the general joy; the old bass viols are alive with passion; the 'cellos throb with love; the violins are seized with a divine fury, and the notes rush out as eager for the air as pardoned prisoners for the roads and fields.

The music of Wagner is filled with landscapes. There are some strains, like midnight, thick with constellations, and there are harmonies like islands in the far seas, and others like palms on the desert's edge. His music satisfies the heart and brain. It is not only for memory; not only for the present, but for prophecy.

Wagner was a sculptor, a painter in sound. When he died, the greatest fountain of melody that ever enchanted the world, ceased. His music will instruct and refine forever.

All that I know about the operas of Wagner I have learned from Anton Seidl. I believe that he is the noblest, tenderest and most artistic interpreter of the great composer that has ever lived.

[Speech of Henry Irving[10]at a banquet given in his honor, London, July 4, 1883, in view of his impending departure for a professional tour of America. The Lord Chief Justice of England, John Duke Coleridge, occupied the chair.]

Menu Card

Through the courtesy of the Lotus Club, we are enabled to reproduce this typical dinner card, especially drawn and engraved for a complimentary banquet to Sir Henry Irving. The original card is about three times the size of this reproduction.

My Lord Chief Justice, My Lords and Gentlemen:—I cannot conceive a greater honor entering into the life of any man than the honor you have paid me by assembling here to-night. To look around this room and scan the faces of my distinguished hosts, would stir to its depths a colder nature than mine. It is not in my power, my lords and gentlemen, to thank you for the compliment you have to-night paid me.

"The friends thou hast, and their adoption tried,Grapple them to thy soul with hooks of steel."

Never before have I so strongly felt the magic of those words; but you will remember it is also said in the same sentence, "Give thy thoughts no tongue." [Laughter.] And gladly, had it been possible, would I have obeyed that wise injunction to-night. [Renewed laughter.]

The actor is profoundly influenced by precedent, and I cannot forget that many of my predecessors have been nerved by farewell banquets for the honor which awaited them on the other side of the Atlantic; but this occasion I regard as much more than a compliment to myself: I regard it as a tribute to the art which I am proud to serve and I believe that feeling will be shared by the profession to which you have assembled to do honor. [Cheers.] The time has long gone by when there was any need to apologize for the actor'scalling. ["Hear! Hear!"] The world can no more exist without the drama than it can without its sister art, music. The stage gives the readiest response to the demand of human nature to be transported out of itself into the realms of the ideal—not that all our ideals on the stage are realized—none but the artist knows how immeasurably he may fall short of his aim or his conception,—but to have an ideal in art and to strive through one's life to embody it, may be a passion to the actor as it may be to the poet.

Your lordship has spoken most eloquently of my career. Possessed of a generous mind and a high judicial faculty, your lordship has been to-night, I fear, more generous than judicial. But if I have in any way deserved commendation, I am proud that it was as an actor that I won it. As the director of a theatre my experience has been short, but as an actor I have been before the London public for seventeen years; and on one thing I am sure you will all agree—that no actor or manager has ever received from that public more generous and ungrudging encouragement and support. [Cheers.]

Concerning our visit to America, I need hardly say that I am looking forward to it with no common pleasure. It has often been an ambition with English actors to gain the good-will of the English-speaking race, a good-will which is right heartily reciprocated towards our American fellow-workers, when they gratify us by sojourning here. Your God-speed would alone assure me a hearty welcome in any land. But I am not going amongst strangers; I am going amongst friends, and when I, for the first time, touch American ground, I shall receive many a grip of the hand from men whose friendship I am proud to possess. [Cheers.] Concerning our expedition the American people will no doubt exercise an independent judgment—a prejudice of theirs and a habit of long standing [laughter], as your lordship has reminded us, by the fact that to-day is the fourth of July, an anniversary rapidly becoming an English institution. Your lordship is doubtless aware, as to-night has so happily proved, that the stage has reckoned amongst its staunchest supporters many great and distinguished lawyers. There are many lawyers, I am told, in America, and as I am sure that they all deserve to be judges, I am in hopes that theywill materially help me to gain a favorable verdict from the American people. [Cheers and laughter.]

I have given but poor expression to my sense of the honor you have conferred upon me, and upon the comrades associated with me in this our enterprise—an enterprise which, I hope, will favorably show the method and discipline of a company of English actors. On their behalf I thank you, and I also thank you on behalf of the lady who has so adorned the Lyceum stage, and to whose rare gifts your lordship has paid so just and gracious a tribute. The climax of the favor extended to me by my countrymen has been reached to-night. You have set upon me a burden of responsibility, a burden which I gladly and proudly bear. The memory of to-night will be to me a sacred thing, a memory which will, throughout my life, be ever treasured, a memory which will stimulate me to further endeavor, and encourage me to loftier aim. [Loud and continued cheers.]

[Speech of Sir Henry Irving at the fourteenth annual dinner of the Playgoer's Club, London, February 14, 1898. The toast of "The Drama" was proposed by B. W. Findon, and Sir Henry Irving was called upon to respond.]

Mr. Chairman and Gentlemen:—It is five years since I had the pleasure of sitting at your hospitable board and listening to that delightfully soothing and digestive eloquence with which we medicine one another after dinner. [Laughter.] In the course of those five years I daresay we have had many differences of opinion. The playgoer does not always agree with the player, still less with that unfortunate object, the poor actor-manager. But whatever you may have said of me in this interval, and in terms less dulcet, perhaps, than those which your chairman has so generously employed, it is a great satisfaction to me to feel that I still retain your esteem and good-will. In a certain sense you are the manager's constituents. You cannot eject him from the office, perhaps, with that directness which distinguishes the Parliamentary operations. But you can stay away from the theatre, and so eject his play. [Laughter.] On the wholethat is a more disconcerting process than the fiercest criticism. One can always argue with the critics, though on the actor's part I know that is gross presumption. [Laughter.] But you cannot argue with the playgoer who stays away.

I am not making any specific accusations—only remarking that it is staying-power which impresses the importance of the Playgoer's Club upon the managerial mind. Moreover, to meet you like this has the effect of a useful tonic. I can strongly recommend it to some gentlemen who write to the newspapers. [Laughter.] In one journal there was a long correspondence—the sort of thing we generally get at one season of the year—about the condition of the stage, and a well-known writer who, I believe, combines the function of a dramatic critic with the responsibility of a watch-dog to the Navy, informed his readers that the sad decadence of the British Drama was due to the evils of party government. That is certainly an original idea; but I fancy that if the author were to unfold it to this company, he would be told that he had mistaken the Playgoer's Club for the War Office or the Admiralty. Still we ought to be grateful to the man who reveals a perfectly fresh reason for the eternal decline of the drama, though we may not, perhaps, anticipate any revolution in theatrical amusements even from the most thorough-going reform of the British Constitution.

In the public correspondence to which I have referred, a good deal was said about the need for a dramatic conservatoire. If such an institution could be rooted in this country, I have no doubt that it might yield many advantages. Years ago I ventured to suggest that the municipal system might be applied to the theatre, as it is on the Continent, though I do not observe that this is yet a burning question in the county council politics, or that any reforming administrator has discovered that the drama ought to be laid on, like gas or water. [Laughter.] With all our genius for local government we have not yet found, like some Continental peoples, that the municipal theatre is as much a part of the healthy life of the community as the municipal library or museum. ["Hear! hear!"] Whether that development is in store for us I do not know, but I can imagine certain social benefits that would accrue from the municipal incorporation of a dramatic conservatoire. It might check therush of incompetent persons into the theatrical profession. Some persons who were intended by Nature to adorn an inviolable privacy are thrust upon us by paragraphers and interviewers, whose existence is a dubious blessing—[laughter]—until it is assumed by censors of the stage that this business is part and parcel of theatrical advertisement.

Columns of this rubbish are printed every week, and many an actor is pestered to death for tit-bits about his ox and his ass and everything that is his. [Laughter.] Occasionally you may read solemn articles about the insatiable vanity of the actor, which must be gratified at any cost, as if vanity were peculiar to any section of humanity. But what this organized gossip really advertises is the industry of the gentlemen who collect it, and the smartness of the papers in which it is circulated. "We learn this," "We have reason to believe"—such forms of intolerable assurance give currency too often to scandalous and lying rumors which I am sure responsible journalism would wish to discourage. But this, I fear, is difficult, for contradiction makes another desirable paragraph, and it is all looked upon as desirable copy. [Laughter.]

Of course, gentlemen, the drama is declining—it always has been declining since the time of Roscius and beyond the palmy days when the famous Elephant Raja was "starred" over the head of W. C. Macready, and the real water tank in the Cataract of the Ganges helped to increase the attractions of John Kemble and Mrs. Siddons. But we ourselves are evidently in a parlous state at the present day, when actors vainly endeavor to struggle through twenty lines of blank verse—when we are told mechanical effects and vast armies of supers make up the production of historical plays—when pathological details, we are told, are always well received—when the "psychonosological" (whatever that may be)—[laughter], is invariably successful—and when Pinero and Grundy's plays do not appeal to men of advanced thought, as I read the other day.

In all the lament about the decline of the drama there is one recurring note: the disastrous influence of long runs. If the manager were not a grossly material person, incapable of ideals, he would take off a successful piece at the height of its popularity and start a fresh experiment. [Laughter.]But he is sunk in the base commercialism of the age, and, sad to relate, he has the sympathies of the dramatic author, who wants to see his piece run say a hundred nights, instead of twenty. I don't know how this spirit of greed is to be subdued, though with the multiplication of Play-houses, long runs may tend to become rare. A municipal subsidy or an obliging millionaire might enable a manager to vary his bill with comparative frequency, when he has persuaded the dramatic author that the run of a play till the crack of doom is incompatible with the interest of art. [Laughter.] I cannot help suspecting that the chief difficulty of a manager, under even the most artistic and least commercial conditions, will always be, not to check the inordinate proportions of success, but to secure plays which may succeed at all.

I hope you will not accuse me of taking a too despondent view of the drama, for believe me, I do not. To be sure, we sometimes hear that Shakespeare is to be annihilated, and that the poet's intellect has been overrated. And lately a reverend gentleman at Hampstead announced his intention of putting down the stage altogether. [Laughter.] The atmosphere of Hampstead seems to be intellectually intoxicating; at any rate it has a rather stimulating effect on a certain kind of dogmatic mind. This intolerance has been very eloquently rebuked by a distinguished man who is an ornament of the Church of England. It is Dean Farrar who says that these pharisaical attacks on the stage are inspired only by "concentrated malice." Well, the periodical misunderstanding to which the stage is exposed need cause but little disquiet. I have no doubt it will survive its many adventures, and that it will owe not a little of its tenacious vitality to your unflagging sympathy and hearty and generous encouragement. [Cheers.]

[Speech of Sir Henry Irving, as Chairman, at the thirty-fifth anniversary dinner of the Newspaper Press Fund, London, May 21, 1898.]

Gentlemen:—When I received the great compliment of an invitation to occupy this chair, I was conscious of a certain ironical fitness in my position. The politician andthe actor divide between them the distinction of supplying the most constant material for the most intimate and searching vigilance of the newspaper press. [Laughter.] So when this great corporation of the newspaper press fund gives its annual dinner, what more natural and fitting than a politician or an actor in the chair, who illustrates in his person and in his own fortunes both the appreciation and the discipline which it is the function of the press so liberally to bestow? I can imagine that when such a chairman happens to be a pretty old stager like myself, there may be journalists in such a distinguished company as this who will look at him with the moistened eye of emotional reminiscence and murmur: "Ah, it was upon that man I fleshed my maiden pen!" [Laughter.] Thoughts like these shed the mellowing influence of time over the volumes of press cuttings which no actor's library is without. I have heard of public men who say they never read the newspapers. That remark has been attributed to a bishop, and perhaps there are kinds of abstinence quite easy to bishops but difficult to other mortals. [Laughter.] If it were possible for a man whose doings are considered worthy of public notice to avoid the newspaper, he could scarcely hope to make his friends practice the same denial. Even a bishop who is not inquisitive must occasionally meet deans and chapters who are. [Laughter.] There's the rub. You may not read the newspapers, but as soon as you scent the morning air you know whether those proverbial little birds who spread the news with such alacrity, are chirping about yourself, and the first feathered acquaintance that you hit upon is generously eager to share with you the crumb picked from a newspaper with a special flavor for your own palate.

Gentlemen, I mention this, not by way of complaint, but simply to illustrate the futility of that philosophy which fondly imagines that the newspaper can be ignored. But I am chiefly conscious to-night of the debt of gratitude we all owe to the press. The newspaper—say what you will of it—is the immediate recorder and interpreter of life. Morning and evening it offers us that perpetual stimulus which makes the zest of living. Be your interests what they may, though you abstract your mind from the tumult of affairs and devote it to art or science, you cannot open a newspaper without the sensation of laying your hand upon the throbbing pulse of the world. And it has throbbed within but a few days, throbbed with a widespread grief at the passing of a great man [Mr. Gladstone], a great statesman, a great and noble figure in productive and national life, who for more than half a century has helped largely to mould the destinies of the nation and the world. [Loud cheers.] Gentlemen, in a newspaper, at a glance, you are in touch with the elemental forces of nature—war, pestilence and famine; you are transported by this printed sheet, as it were the fairy carpet of the Arabian, from capital to capital, from the exultation of one people to the bitter resentment and chagrin of another. You behold on every scale every quality of humanity, everything that piques the sense of mystery, everything that inspires pity, dread, or anger. It is a vast and ever-changing panorama of the raw material of art and literature. [Cheers.]

Well, there are some complaints, gentlemen, that the raw material is more generally interesting than the artistic product. The newspaper is a dangerous competitor of books, and those of us who write plays and produce them may wish that the circulation of a great daily journal would repeat itself at the box-office. [Laughter.] But it is no use protesting against rivalry, if it be the rivalry of life, and the gentlemen of the press who are engaged in stage-managing and drama which, after all, is the real article, must always command more spectators than the humble artists who seek truth in the garb of illusion. I cannot sufficiently admire the enterprise of these great newspapers which keep the diary of mankind. In time of war their representatives are in the thick of danger; and though he may subscribe to thedictum, so familiar to playgoers, that the pen is mightier than the sword, the war correspondent is always ready to give lessons to the enemy with the less majestic weapon. ["Hear! hear!"] In our own military annals no little glory shines on the names of civilians who, in the faithful discharge of duty to a multitude of readers, gave their lives as truly for their country as if they had died in the Queen's uniform. There are veteran campaigners of the press still amongst us, one of the most distinguished of whom is my old and valued friend, Sir William Russell[cheers], the vice-president of this fund, by whom I have the pleasure of being seated to-night. I say there are many veterans of the press whose services to the British Army will not be forgotten, though they never set a squadron in the field. I have heard it said that in diplomacy the press is sometimes indiscreetly ahead of events [laughter], but you must remember that nothing is so characteristic of the modern spirit as the art of publishing things before they happen. Nowadays all the world is on tiptoe, and the soul of journalism must be prophetic, because it has to do for a curious and wide-eyed public what was done for a much simpler generation by the alchemists and the astrologer. We ought to be thankful that this somewhat perilous business is conducted, on the whole, with so much discretion and breadth of mind. We have no less admiration, gentlemen, for the judgment of our press than for the enterprise which is born of competition, and, although that judgment has often to be framed under conditions which demand almost breathless rapidity, it does not always bear unfavorable comparison with the protracted meditation of the philosophic recluse. [Cheers.]

But there is one thing which the ubiquitous energies of the press cannot command, and that is immunity for its members from the chances of evil fortune, from sickness and decay. ["Hear! Hear!"] I suppose there is no profession which makes such heavy calls upon the bodily and mental vigor of its servants as the profession of the journalist. Whoever nods, he must be always fresh and alert. Whoever is content with the ideas of yesterday, the journalist must be equipped with the ideas of to-morrow. In the course of my life it has been my privilege to number many brilliant journalists amongst my dearest friends, and I sorrowfully call to mind now more than one undaunted spirit who has suffered the penalties of overtaxed strength. It is in these cases that this fund should be of special benefit. It is in your power to give that timely help which saves the exhausted brain and restores the broken nerve. I stand to-night in a place which has been occupied by many distinguished advocates of this fund—advocates who have spoken with eloquence to which I can make no pretension. But I would earnestly impress upon you this thought, than whichno plea can be more eloquent—remember that whatever you may give out of goodness of heart, from the memories of old comradeship, from the thousand and one associations which bind together fellow-workers in various arts and callings, remember that it may be the means some day of snatching from the last despond some one whose hand you have pressed in friendship, and whose voice has an echo in your hearts. I ask you to drink "Prosperity to the Newspaper Press Fund." [Loud cheers.]

[Speech of Richard Claverhouse Jebb, professor in the University of Cambridge, in responding to the toast, "The Interests of Literature," coupled, according to custom, with "The Interests of Science," at the banquet of the Royal Academy, London, May 4, 1885. Sir Frederic Leighton, President of the Academy, said in introducing him: "I invite you to join me in a tribute, never wanting at this table, to science and to letters. With literature I connect the name of a guest whom his grateful country has brought from the far banks of the Clyde to our table to-night—one among the very foremost and most elegant of our scholars; and a speaker on whose lips we trace, though Latin has been the chief vehicle of his oratory, a savor of those Attic orators with whom his name is associated in our minds—Professor Jebb."]

Mr. President, Your Royal Highnesses, My Lords, and Gentlemen:—In responding for the second part of the toast, which has been so eloquently proposed and so graciously received, I trust that I shall have the indulgence of this distinguished company if the words in which the response is tendered are simple and few. It is now just a hundred years since the earliest occupant of the presidential chair which Sir Frederic Leighton so brilliantly adorns, in addressing the students of the Royal Academy, counseled them to practice "the comparison of art with art, and of all arts with the nature of man."

Among the various fields in which literature works, there is none, perhaps, in which the reciprocal influence of art and literature can be more vividly apprehended than in the province of classical study, and especially in the domain of those pursuits which are conversant with the life and thought of ancient Greece. The inheritor of a shapeless mythology and a rude tradition, Homer emerges as the first artist in European poetry, giving clear outline andbeautiful form to types of godhead and heroism. The successor to schools which had rather combated than conquered their material, Phidias, is recalled as the first poet in European art, creating a visible embodiment for the Homeric vision of those imperial brows which made Olympus to tremble at their nod.

England has no Academy of Letters. All the more, perhaps, is it desirable that our literature should be penetrated by those regulative lessons of form, those suggestions of a spiritual harmony, which emanate from an Academy such as this ["Hear! Hear!"]—from a true and noble Academy of arts. It has never been better with art, it has never been better with literature than when each has been most willing to receive the highest teachings of the other, acknowledging the bond of an eternal sisterhood in that Hellenic message for which Keats has found an English voice,—"Beauty is truth, truth beauty." [Cheers.]

[Speech of Joseph Jefferson at a dinner given by the Authors' Club, in honor of the tenth anniversary of its founding, New York, February 28, 1893. Edward Eggleston acted as chairman. On rising to speak, Mr. Jefferson received an enthusiastic greeting.]

Gentlemen:—I need not say how I thank you for this generous greeting. I am very glad that your worthy chairman has defined my position. I knew I was a guest, but I did not know I was an author—however, I will begin my remarks here because I think it is appropriate at an Authors' Club to quote from so able and so lovely a man as Charles Lamb. Charles Lamb has said that the world is divided into two classes, those who are born to borrow and those who are born to lend, and if you happen to be of the latter class, why, do it cheerfully. Now the world seems to be divided into two other classes, those who are always anxious to make speeches and those who are not. If of the latter one, you are rather uncertain of yourself, as I am now, and you have to make a speech, why, do it cheerfully. [Applause.]

Making a speech cheerfully and making a cheerful speech are two very different matters. [Laughter and applause.] You know how dangerous it is for any man to wander away from the legitimate paths of his profession. I fear I have been over-impertinent; I have even been rude enough to exhibit my pictures, impertinent enough to write a book. I have become an author of one book and the authors have kindly admitted me and invited me to their board. To-morrow night, or after to-morrow night, I presume that the orators will invite me to their board. [Applause.] I am almost ashamed of my presumption, and it would serveme very right if I failed to-morrow night. That will teach me better and I shall extend the field of my operation no further, I assure you.

But it is curious that there is one path in which the actor always wanders—he always likes to be a land-owner. It is a curious thing that the actors of England and—of course in the olden times you must remember that we had none but English actors in this country,—and as soon as they came here, they wanted to own land. They could not do it in England. The elder Booth owned a farm at Bellaire. Thomas Cooper, the celebrated English tragedian, bought a farm near Philadelphia, and it is a positive fact that he is the first man who ever owned a fast trotting horse in America. He used to drive from the farm to rehearsal at the theatre, and I believe has been known on some occasions. when in convivial company, even to drive out at night afterwards. [Laughter.] Following and emulating the example of my illustrious predecessors I became a farmer. I will not allude to my plantation in Louisiana; my overseer takes care of that. I have not heard from him lately but I am told he takes very good care of it. [Laughter.] I trust there was no expression of distrust on my part. But I allude to my farm in New Jersey. I have not been so successful as Mr. Burroughs, but I was attracted by a townsman and I bought a farm in New Jersey. I went out first to examine the soil. I told the honest farmer who was about to sell me this place that I thought the soil looked rather thin; there was a good deal of gravel. He told me that the gravel was the finest thing for drainage in the world. I told him I had heard that, but I had always presumed that if the gravel was underneath it would answer the purpose better. He said: "Not at all; this soil is of that character that it will drain both ways," by what he termed I think catepillary attraction. [Laughter.] I bought the farm and set myself to work to increase the breadth of my shoulders, to help my appetite, and so forth, about work of a farm. I even went so far as to emulate the example set by Mr. Burroughs, and split the wood. I did not succeed at that. Of course, as Mr. Burroughs wisely remarks, the heat comes at both ends; it comes when you split the wood and again when you burn it. But as I only lived at my farm duringthe summer time, it became quite unnecessary in New Jersey to split wood in July, and my farming operations were not successful.

We bought an immense quantity of chickens and they all turned out to be roosters [laughter]; but I resolved—I presume as William Nye says about the farm—to carry it on; I wouldcarryon that farm as long as my wife's money lasted. [Laughter.] A great mishap was when my Alderney bull got into the greenhouse. There was nothing to stop him but the cactus. He tossed the flower-pots right and left. Talk about the flowers that bloom in the spring,—why, I never saw such a wreck, and I am fully convinced that there is nothing that will stop a thoroughly well-bred bull but a full-bred South American cactus. [Laughter.] I went down to look at the ruins and the devastation that this animal had made, and I found him quietly eating black Hamburg grapes. I don't know anything finer than black Hamburg grapes for Alderney bulls. A friend of mine, who was chaffing me for my farming proclivities, said: "I see you have got in some confusion here. It looks to me from seeing that gentleman there—that stranger in the greenhouse—that you are trying to raise early bulls under glass." [Laughter.]

Well, I will not tire you with these experiences. I can only congratulate Mr. Burroughs upon his success, and I beg that you will sympathize with me upon my failure; and now then allow me to conclude my crude remarks by thanking you for the very kind manner in which you have listened to my remarks and my experiences. I assure you—they are all of them true. And I thank you, sir, for your kind introduction, which I am afraid I do not deserve. And so, gentlemen, I wish you success and happiness, and long life to your honorable Club. [Long-continued applause.]

[Speech of Joseph Jefferson at the annual banquet held on Founders' Night at the Players' Club, New York City, December 30, 1893. This was the first time that Mr. Jefferson, the newly-elected President, spoke to his fellow-players in his official capacity.]

Fellow-Players:—Founders' Night should be of joy, unshaded by the slightest tinge of gloom. I know this, but how can I speak to-night without a loving reference to the one whose gift we now hold—a gift in which our children and theirs for many generations will take pride, delight and comfort. It would be a twice-told tale to rehearse the career of Edwin Booth. You are as familiar with it as I am. But there are incidents in his early life that may interest you, and possibly that no one but myself could tell you.

An early remembrance of the stage brings before me the figure of the elder Booth. When I was but five years of age I acted the Duke of York to his Richard III. You may think it strange that I remember this circumstance; but even a child as young as I was could not have stood in the presence of this superb and magnetic actor without being indelibly impressed with the scene. His son, Edwin, was then just born. We first met when he was a handsome youth of sixteen. A lithe and graceful figure, buoyant in spirits, and with the loveliest eyes I ever looked upon. We were friends from the first, and it is a comfort to me to know that our friendship lasted nearly half a century, unbroken by a single act or word. His early performances upon the stage did not give much promise, and there were grave fears that he had not inherited the genius of his father. But after the death of that father young Booth's friends and the public were suddenly startled by the news from across the Continent that a new star had arisen, not in the East, but in the West, and was wending its way homeward.

In 1854 I became the stage manager for Henry C. Jarrett in Baltimore. That gentleman is a member of our Cluband now stands before me. He one day brought a young girl who had been given to his care and placed her in mine—a beautiful child, but fifteen years of age. Her family, a most estimable one, had met with some reverse, and she had decided to go upon the stage to relieve them from the burden of her support, and possibly to contribute to the comfort of her father. This loving duty she faithfully performed. She lived in my family as the companion of my wife for three years, and during that time became one of the leading actresses of the stage. One morning I said to her: "To-morrow you are to rehearse Juliet to the Romeo of our new and rising young tragedian." At this distance I can scarcely say whether I had or had not a premonition of the future, but I knew at the conclusion of that rehearsal that Edwin Booth and Mary Devlin would soon be man and wife; and so it came about, for at the end of the week he came to me in the green-room, with his affianced bride by the hand, and with a quaint smile they fell upon their knees in a mock-heroic manner, as though acting a scene in the play, and said: "Father, your blessing," to which I replied in the same mock-heroic vein, extending my hands like the old Friar: "Bless you, my children!" Shortly they were married. We know that his life was filled with histrionic triumphs and domestic bereavements.

May I not speak here of this gift of the Players? It is comparatively easy for those who are rocked in a golden cradle, and who at their birth are endowed with great wealth, to dispense their bounty. I do not desire to disparage the generosity of the rich. Those of our land have done much good, are now freely dispensing their wealth, and will continue to do so; but we must remember that the fortune of Edwin was not inherited. The walls within which we stand, the art, the library, and the comforts that surround us, represent a life of toil and travel, sleepless nights, tedious journeys and weary work; so that when he bestowed upon us this Club it was not his wealth only, but it was himself that he gave.

But a few years ago he was (though rich in genius) poor in pocket. He had been wealthy, and had seen the grand dramatic structure he had reared taken from him and devastated. His reverse of fortune was from no fault of hisown, but from a confiding nature. When he again, by arduous toil, accumulated wealth, one would have supposed that the thoughts of his former reverses would have startled him and that he would have clutched his newly-acquired gold and garnered it to himself, fearful lest another stroke of ill-fortune should fall upon him. But instead of making him a coward it gave him courage. It did not warp his mind or steel his heart against humanity. No sterility settled upon him. His wrongs seemed to have fertilized his generosity, and here we behold the fruit.

When the stranger comes here and asks us for the monument of Edwin Booth we can say: "Look around you." For some time past he had looked forward calmly to his dissolution. One year ago to-night in this room, and at this very hour, he said to me the memorable words: "They drink to my health to-night, Joe. When they meet again, it will be to my memory."

Two years ago last autumn, we walked on the sea beach together, and with a strange and prophetic kind of poetry, he likened the scene to his own failing health, the falling leaves, the withered sea-weed, the dying grass upon the shore, and the ebbing tide that was fast receding from us. He told me that he felt prepared to go, for he had forgiven his enemies, and could even rejoice in their happiness. Surely this was a grand condition in which to step from this world across the threshold to the next!

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