Up-to-date physicians, we understand, are beginning to prescribe it as tonic and penance for patients growing slack in their att.i.tude toward life. At a cabaret recently a man pointed out a dancer in the middle of the floor and said: "That woman in the bright red dress is fifty-six years old." We were properly surprised, and he went on: "Her story is interesting. Two years ago she went to a neurologist because of a general physical and nervous breakdown. He said to her: 'Madam, the trouble is that you are growing old, and, worse than that, you are ready to admit it. You must fight against it. You must hold on to youth as if it were a horizontal bar and chin yourself.'"

We looked at the woman more closely and saw that she was obeying the doctor's orders literally. Her fight was a gallant one. Dancing had served to keep down her weight and improve her blood pressure, but there was not the slightest suggestion that she was enjoying herself. She had bought advice and she was intent upon using it. And as we looked over the entire floor we could see no one who seemed to be dancing for the fun of it. A few took a pardonable pride in their perfection of fancy steps, but that emotion is not quite akin to joy. They were dancing for exercise or prestige, or to fulfill social obligations.

All this is admirable in its way, but we have not sufficient faith in the persistence of human gallantry to believe that it can last forever.

The home will get every last one of the dancers yet because it is so much easier to loaf in an easy-chair than to keep up the continual bickering against old age, indolence, and the selfishness of comfort.

Motion pictures may be more dangerous because we are informed that they are still in their infancy. But perhaps the home is also. In spite of the length of time during which it has been going on, its possibilities of development are enormous. Within the memory of living man a home was generally supposed to be a place where people sat and stared at each other. Sometimes they visited neighbors, but these trips were traditionally restricted to occasions upon which the friends were ill and too helpless to carry on a conversation. If any one doubts that talk is a recent development in home life, let him consider the musical instruments of a generation which is gone. Take the spinnet, for instance, and note that even the most carefully modulated whisper would have drowned out its feeble tinkle.

To be sure, our ancestors had books and a few magazines, but they were not of a sort to promote general conversation. Only the grown-ups were capable of exchanging their views on Mr. Thackeray's latest novel. But now, when the group returns from an evening at the motion-picture theater where "The Kid" or "Shoulder Arms" is being shown, it is impossible to keep anybody out of the discussion on account of his lack of years. Little Ferdinand has just as much right to an opinion about the prowess of Charlie Chaplin as grandpa, and, according to our observation, it is a right almost certain to be exercised.

Of course, before we began this discussion of the decay of home life we should have set about coming to some definition acceptable to both sides of the controversy. Now, when it is too late to do anything about it, we are struck by the fact that we are probably talking at cross purposes.

It is our contention that man is not less than the turtle. We think it is entirely possible for him to carry his home life around with him. It would not seem to us, for instance, that home life was impaired if the family took in the movies now and again or even very frequently. Nor are we willing to accept a bridge party down the street as something alien and outside. In other words, a man's home (and, of course, we mean a woman's home as well) ought not to be defined by the walls of his house or even by the fences of the front yard. The anti-suffragists once had the slogan "Woman's place is in the home," but what they really meant was "in the house," since they used to insist that the business of voting would take her out of it. It seems to us that the woman of to-day should have a home with limits at least as s.p.a.cious as those of the whole world. And so naturally she ought to have her share in all the concerns of life.

XXII

I'D DIE FOR DEAR OLD RUTGERS

"He fought the last twenty rounds with a broken hand." "The final quarter was played on sheer nerve, for an examination at the end of the game showed that his backbone was shattered and both legs smashed."

"Although knocked senseless in the opening chukker, he finished the match and no one realized his predicament until he confessed to his team mates in the clubhouse."

These are, of course, incidents common enough in the life of any of our sporting heroes. To a true American sportsman a set of tennis is held in about the same esteem as a popular playwright holds a woman's honor.

There is no point at which "I give up" can be sanctioned. Not only must the amateur athlete sell his life dearly, but he must keep on selling it until he is carried off the field. Accordingly, it is easy to understand why Forest Hills seethed with indignation when Mlle. Suzanne Lenglen walked (she could still walk, mind you) over to an official in the middle of a tennis match and announced that she was ill and would not continue. It was quite obvious to all that the Frenchwoman was still alive and breathing and the thing was shocking heresy.

The writer is not disposed to defend Suzanne's heresy to the full. He believes that Mlle. Lenglen was ill, but he feels that she erred, not because she resigned, but because she did it with so little grace. She seemed to have no appreciation of the hardship which the sudden termination of the match imposed upon Mrs. Molla Bjurstedt Mallory.

However, Molla did and came off the court swearing.

It was an embarra.s.sing moment, but possibly a moral can be dug from it all the same. For the first time in the experience of many, a new sort of athletic tradition was vividly presented. No one will deny that the French knew the gesture of Thermopylae as well as the next one, but they have never thought to a.s.sociate it with sports. The gorgeous and gallant Carpentier has, upon occasions in his ring career, resigned. He showed no lack of nerve on these occasions, but merely followed a line of conduct which is foreign to us. Pitted at those particular times against men who were too heavy for him and facing certain defeat, he admitted their superiority somewhat before the inevitable end. Like a chess master, he sensed the fact that victory was no longer in the balance, and that nothing remained to be done except some mopping up. Such perfunctory and merely academic action did not seem to him to come properly within the realm of sport, particularly if he was to be the man mopped up.

American sport commentators who knew these facts in the record of Carpentier were disposed to announce before his match with Dempsey that he would most certainly seek to avoid a knockout by stopping as soon as he was hurt. His astounding courage surprised them. And yet it was exactly the sort of courage they should have expected. He did not fight on through gruelling punishment just for the sake of being a martyr. He went through it because up to the very end he believed that his great right hand punch might win for him, and even at the last Carpentier was still swinging.

In spite of the sentimental objections of the old-fashioned follower of sports, the tradition which was bred out of Sparta by Anglo-Saxon has begun to decay. Referees do step in and end unequal contests. Ring followers themselves are known to cry, "Stop the fight" at times when the match has become no longer a contest. "Mollycoddles!" shriek the ghosts of the bareknuckle days who float over the ring, but we do not heed their voices. Again, we have decreasing patience with the severely injured football player who struggles against the restraining arms of the coaches when they would take him out because of his disabilities.

To-day he is less a hero than a rather dramatically self-conscious young man who puts a gesture above the success of his team.

There is still ground for the modification of a sporting tradition which has made those things which we call games become at moments ordeals having no relation to sport. Losing is still considered such a serious business that an elaborate ritual has been built up as to what const.i.tutes good losing. We not only demand that a man shall die, if need be, for the Lawn Tennis Championship of Eastern Rhode Island, but we go so far as to prescribe the exact manner in which he shall die. A set, silent and determined demeanor is generally favored.

From j.a.pan have come hints of something better in this direction. Every American engaged in sport should be required to spend an afternoon in watching Zenzo Shimidzu of the j.a.panese Davis Cup team. Shimidzu's contribution to sport is the revelation that a man may try hard and yet have lots of fun even when things go against him. He seems to reserve his most winning smile for his losing shots. Once in his match against Bill Johnston he was within a point of set and down from the sky a high short lob was descending. Shimidzu was ready for what seemed a certain kill. He was as eager as an avenging sparrow. Back came his racquet and down it swung upon the ball, only to drive it a foot out of court.

Immediately, the little man burst into a silent gale of merriment. The fact that he had a set within his grasp and had thrown it away seemed to him almost the funniest thing which had ever happened to him.

Of course, this is a manner which might be difficult for us Americans to acquire. Unlike the j.a.panese we have only a limited sense of humor. Its limits end for the most part with things which happen to other people.

We laugh at the pictures in which we see Happy Hooligan being kicked by the mule, but we would not be able to laugh if we ourselves met the same mule under similar circ.u.mstances. However, in an effort to popularize the light and easy demeanor in sporting compet.i.tion it is fair to point out that it is not only a beautiful thing but that it is also effective.

Shimidzu almost beat Tilden by the very fact that he refused to do anything but smile when things went against him. The tall American would smash a ball to a far corner of the court for what seemed a certain kill, but the little man would leap across the turf and send it back.

And as he stroked the ball he smiled. It was discouraging enough for Tilden to be pitted against a Gibraltar, but it seemed still more hopeless from the fact that even when he managed to split the rock it broke only into the broadest of grins.

Ten years of work by one of our most prominent editors for a war with j.a.pan were swept away by the Davis Cup matches. It is hard to understand how there can be any race problem concerning a people with so excellent a backhand and so genial a disposition. Indeed, many of the things which our friends from California have told us about j.a.pan did not seem to be so. All of us have heard endlessly about the rapidity with which the j.a.panese increase. There was no proof of it at Forest Hills. When the doubles match started there were on one side of the net two j.a.panese.

When the match ended, almost four hours later, there was still just two j.a.panese.

XXIII

ARE EDITORS PEOPLE?

One of the characters in "A Prince There Was" is the editor of a magazine and, curiously enough, he has been made the hero of the film.

Of course, there may be something to be said for editors. Indeed, we have heard them trying to say it, and yet they remain among the forces of darkness and of mystery. By every rule of logic the editor in any story ought to be the villain.

It is not the darkness so much as the mystery which disturbs us. Only rarely have we been able to understand what an editor was talking about.

Sometimes we have suspected that neither of us did. There was, for instance, the man who tapped upon his flat-topped desk and said with great precision and deliberation, "When you are writing for _Blank's Magazine_, you want to remember that _Blank's_ is a magazine which is read at five o'clock in the afternoon."

He was our first editor. Disillusion had not yet set in. We still believed in Santa Claus and sanctums. And so we took home with us the advice about five o'clock and pondered. We remembered it perfectly, but that was not much good. "_Blank's_ is a magazine which is read at five o'clock in the afternoon." How were we to interpret this declaration of a principle? It was beyond our powers to write with ladyfingers.

Possibly the editor meant that our style needed a little more lemon in it. There could be no complaint, we felt sure, against the sugar. Ten years of hard service on a New York morning newspaper had granulated us pretty thoroughly.

Having made up our mind that a slight increase in the acid content per column might enable us to qualify with the editor as a man who could write for five o'clock in the afternoon, we were suddenly confronted with a new problem. _Blank's_ was an international magazine. Did the editor mean five o'clock by London or San Francisco time? Until we knew the answer there was no good running our head against rejection slips.

There was no way to tell whether he would like an essay ent.i.tled "On Pipe Smoking Before Breakfast in Surrey," or whether he would prefer a little something on "Is the Garden of Eden Mentioned in the Bible Actually California?" Naturally, if one were writing with San Francisco's five o'clock in mind he would go on to make some comparison between Los Angeles and the serpent.

After extended deliberation, we decided that perhaps it would be best not to try to write for _Blank's_ at all. It might put a strain upon the versatility of a young man too hard for him to bear. Suppose, for instance, he worked faithfully and molded his style to meet all the demands and requirements of five o'clock in the afternoon, and then suppose just as he was in the middle of a long novel, daylight saving should be introduced? His art would then be exactly one hour off and he would be obliged to turn back his hands along with those of the clock.

Of course, even though you understand an editor you may not agree with him. The makers of magazines incline a little to dogma. Give a man a swivel chair and he will begin to lean back and tell you what the public wants. Gazing through his window over the throng of Broadway, a faraway look will come into his eyes and he will begin to speak very earnestly about the farmer in Iowa. The farmer in Iowa is enormously convenient to editors. He is as handy as a rejection slip. In refusing ma.n.u.scripts which he doesn't want to take, an editor almost invariably blames it on some distant subscriber. "I like this very much myself," he will explain. "It's great stuff. I wish I could use it. That part about the bobbed hair is a scream. But none of it would mean anything to the farmer in Iowa. Won't you show me something again that isn't quite so sophisticated?"

Riding through Iowa, we always make it a point to shake our fist at the landscape. And if by any chance the train pa.s.ses a farmer we try to hit him with some handy missile. And why not? He kept us out of print. At least they said he did.

And yet though editors are invariably doleful about the capacity of the farmer in Iowa and points west, it would be quite inaccurate to suggest any fundamental pessimism. An editor is always optimistic, particularly when a contributor asks for his check. But it really is a sincere and deep grained hopefulness. No editor could live from day to day without the faculty or arguing himself into the belief that the next number of his magazine is not going to be quite so bad as the last one.

Unfortunately he is not content to be a solitary tippler in good cheer.

He feels that it is his duty to discover authors and inspirit them.

Indeed, the average editor cannot escape feeling that telling a writer to do something is almost the same thing as performing it himself.

The editorial mind, so called, is afflicted with the King Cole complex.

Types subject to this delusion are apt to believe that all they need do to get a thing is to call for it. You may remember that King Cole called for his bowl just as if there were no such thing as a Volstead amendment. "What we want is humor," says an editor, and he expects the unfortunate author to trot around the corner and come back with a quart of quips.

An editor would cla.s.sify "What we want is humor" as a piece of cooperation on his part. It seems to him a perfect division of labor.

After all, nothing remains for the author to do except to write.

Sometimes the mogul of a magazine will be even more specific. We confessed to an editor once that we were not very fertile in ideas, and he said, "Never mind, I'll think up something for you."

"Let me see," he continued, and crinkled his brow in that profound way which editors have. Suddenly the wrinkles vanished and his face lighted up. "That's it," he cried. "I want you to go and do us a series something like Mr. Dooley." He leaned back and fairly beamed satisfaction. He had done his best to make a humorist out of us. If failure followed it could only be because of shortsightedness and stubbornness on our part. We had our a.s.signment.

XXIV

WE HAVE WITH US THIS EVENING----