Love, Life & Work Part 5

But any man chained to a hopeless task, whose daily work does not express himself, who is dogged by a boss, whenever he gets a moment of respite turns to drink or religion.

Men with an eye on Sat.u.r.day night, who plot to supplant some one else, who can locate an employer any hour of the day, who use their wit to evade labor, who think only of their summer vacation when they will no longer be compelled to work, are apt to be sticklers for Sabbath-keeping and church-going.

Gentlemen in business who give eleven for a dozen, and count thirty-four inches a yard, who are quick to foreclose a mortgage, and who say "business is business," generally are vestrymen, deacons and church trustees. Look about you! Predaceous real estate dealers who set nets for all the unwary, lawyers who lie in wait for their prey, merchant princes who grind their clerks under the wheel, and oil magnates whose history was never written, nor could be written, often make peace with G.o.d, and find a gratification for their sense of sublimity by building churches, founding colleges, giving libraries, and holding firmly to a formalized religion. Look about you!

To recapitulate: if your life-work is doubtful, questionable or distasteful, you will hold the balance true by going outside your vocation for the gratification that is your due, but which your daily work denies, and you find it in religion, I do not say this is always so, but it is very often. Great sinners are apt to be very religious; and conversely, the best men who have ever lived have been at war with established religions. And further, the best men are never found in churches.

Men deeply immersed in their work, whose lives are consecrated to doing things, who are simple, honest and sincere, desire no formal religion, need no priest nor pastor, and seek no gratification outside their daily lives. All they ask is to be let alone--they wish only the privilege to work.

When Samuel Johnson, on his death bed, made Joshua Reynolds promise he would do no more work on Sunday, he of course had no conception of the truth that Reynolds reached through work the same condition of mind that he, Johnson, had reached by going to church. Johnson despised work and Reynolds loved it; Johnson considered one day in the week holy; to Reynolds all days were sacred--sacred to work; that is, to the expression of his best. Why should you cease to express your holiest and highest on Sunday? Ah, I know why you don't work on Sunday! It is because you think that work is degrading, and because your sale and barter is founded on fraud, and your goods are shoddy. Your week-day dealings lie like a pall upon your conscience, and you need a day in which to throw off the weariness of that slavery under which you live.

You are not free yourself, and you insist that others shall not be free.

You have ceased to make work gladsome, and you toil and make others toil with you, and you all well nigh faint from weariness and disgust.

You are slave and slave-owner, for to own slaves is to be one.

But the artist is free and he works in joy, and to him all things are good and all days are holy. The great inventors, thinkers, poets, musicians and artists have all been men of deep religious natures; but their religion has never been a formalized, restricted, ossified religion. They did not wors.h.i.+p at set times and places. Their religion has been a natural and spontaneous blossoming of the intellect and emotions--they have worked in love, not only one day in the week, but all days, and to them the groves have always and ever been G.o.d's first temples.

Let us work to make men free! Am I bad because I want to give you freedom, and have you work in gladness instead of fear?

Do not hesitate to work on Sunday, just as you would think good thoughts if the spirit prompts you. For work is, at the last, only the expression of your thought, and there can be no better religion than good work.

Initiative

The world bestows its big prizes, both in money and honors, for but one thing. And that is Initiative. What is Initiative? I'll tell you: It is doing the right thing without being told. But next to doing the right thing without being told is to do it when you are told once. That is to say, carry the Message to Garcia! There are those who never do a thing until they are told twice: such get no honors and small pay. Next, there are those who do the right thing only when necessity kicks them from behind, and these get indifference instead of honors, and a pittance for pay. This kind spends most of its time polis.h.i.+ng a bench with a hard-luck story. Then, still lower down in the scale than this, we find the fellow who will not do the right thing even when some one goes along to show him how, and stays to see that he does it; he is always out of a job, and receives the contempt he deserves, unless he has a rich Pa, in which case Destiny awaits near by with a stuffed club. To which cla.s.s do you belong?

The Disagreeable Girl

England's most famous dramatist, George Bernard Shaw, has placed in the pillory of letters what he is pleased to call "The Disagreeable Girl."

And he has done it by a dry-plate, quick-shutter process in a manner that surely lays him liable for criminal libel in the a.s.size of high society.

I say society's a.s.size advisedly, because it is only in society that the Disagreeable Girl can play a prominent part, a.s.suming the center of the stage. Society, in the society sense, is built upon vacuity; its favors being for those who reveal a fine capacity to waste and consume. Those who would write their names high on society's honor roll, need not be either useful or intelligent--they need only seem.

And this gives to the Disagreeable Girl her opportunity. In the paper box factory she would have to make good; Cluett, c.o.o.n & Co. ask for results; the stage demands at least a modic.u.m of intellect, in addition to shape, but society asks for nothing but pretense, and the palm is awarded to palaver. But do not, if you please, imagine that the Disagreeable Girl does not wield an influence. That is the very point--her influence is so far-reaching in its effect that George Bernard Shaw, giving cross-sections of life in the form of dramas, cannot write a play and leave her out.

She is always with us, ubiquitous, omniscient and omnipresent--is the Disagreeable Girl. She is a disappointment to her father, a source of humiliation to her mother, a pest to her brothers and sisters, and when she finally marries, she slowly saps the inspiration of her husband and very often converts a proud and ambitious man into a weak and cowardly cur.

Only in society does the Disagreeable Girl s.h.i.+ne--everywhere else she is an abject failure. The much-vaunted Gibson Girl is a kind of de luxe edition of Shaw's Disagreeable Girl. The Gibson Girl lolls, loafs, pouts, weeps, talks back, lies in wait, dreams, eats, drinks, sleeps and yawns. She rides in a coach in a red jacket, plays golf in a secondary s.e.xual sweater, dawdles on a hotel veranda, and can tum-tum on a piano, but you never hear of her doing a useful thing or saying a wise one.

She plays bridge whist, for "keeps" when she wins, and "owes" when she loses, and her picture in flattering half-tone often adorns a page of the Sunday Yellow.

She reveals a beautiful capacity for avoiding all useful effort.

Gibson gilds the Disagreeable Girl.

Shaw paints her as she is.

In the _Doll's House_ Henrik Ibsen has given us _Nora Hebler_, a Disagreeable Girl of mature age, who, beyond a doubt, first set George Bernard Shaw a-thinking. Then looking about, Shaw saw her at every turn in every stage of her moth-and-b.u.t.terfly existence.

And the Disagreeable Girl being everywhere, Shaw, dealer in human character, cannot write a play and leave her out, any more than the artist Turner could paint a picture and leave man out, or Paul Veronese produce a canvas and omit the dog.

The Disagreeable Girl is a female of the genus h.o.m.o persuasion, built around a digestive apparatus that possesses marked marshmallow proclivities. She is pretty, pug-nosed, pink, pert and poetical; and at first glance, to the unwary, she shows signs of gentleness and intelligence. Her age is anywhere from eighteen to twenty-eight. At twenty-eight she begins to evolve into something else, and her capacity for harm is largely curtailed, because by this time spirit has written itself in her form and features, and the grossness and animality which before were veiled are becoming apparent.

Habit writes itself on the face, and body is an automatic recording machine.

To have a beautiful old age, you must live a beautiful youth, for we ourselves are posterity, and every man is his own ancestor. I am to-day what I am because I was yesterday what I was. The Disagreeable Girl is always pretty, at least we have been told she is pretty, and she fully accepts the dictum.

She has also been told she is clever, and she thinks she is.

The actual fact is she is only "sa.s.sy."

The fine flaring up of youth has tended to set s.e.x rampant, but she is not "immoral" save in her mind.

She has caution to the verge of cowardice, and so she is sans reproche.

In public she pretends to be dainty; but alone, or with those for whose good opinion she does not care, she is gross, coa.r.s.e and sensual in every feature of her life. She eats too much, does not exercise enough and considers it amusing to let other people wait on her and do for her the things she should do for herself. Her room is a jumble of disorder.

The one gleam of hope for her lies in the fact that out of shame, she allows no visitor to enter her apartments if she can help it. Concrete selfishness is her chief mark. She will avoid responsibility, side-step every duty that calls for honest effort; is untruthful, secretive, indolent and dishonest.

"What are you eating?" asks Nora Hebler's husband as she enters the room, not expecting to see him.

"Nothing," is the answer, and she hides the box of bonbons behind her, and soon backs out of the room.

I think Mr. Hebler had no business to ask her what she was eating--no man should ask any woman such a question, and really it was no difference anyway. But Nora is always on the defensive and fabricates when it is necessary, and when it isn't, just through habit. She will hide a letter written by her grandmother as quickly and deftly as if it were a missive from a guilty lover. The habit of her life is one of suspicion, for being inwardly guilty herself, she suspects everybody although it is quite likely that crime with her has never broken through thought into deed. Nora will rifle her husband's pockets, read his note-book, examine his letters, and when he goes on a trip she spends the day checking up his desk, for her soul delights in duplicate keys.

At times she lets drop hints of knowledge concerning little nothings that are none of hers, just to mystify folks.

She does strange, annoying things simply to see what others will do.

In degree, Nora's husband fixed the vice of finesse in her nature, for when even a "good" woman is accused she parries by the use of trickery and wins her point by the artistry of the bagnio. Women and men are never really far apart anyway, and women are largely what men have made them.

We are all just getting rid of our shackles; listen closely, anywhere, even among honest and intellectual people, if such there be, and you can detect the rattle of chains.

The Disagreeable Girl's mind and soul have not kept pace with her body.

Yesterday she was a slave, sold in a Circa.s.sian mart, and freedom to her is so new and strange that she is unfamiliar with her environment, and she does not know what to do with it.

The tragedy she works, according to George Bernard Shaw, is through the fact that very often good men, blinded by the glamour of s.e.x, imagine they love the Disagreeable Girl, when what they love is their own ideal--an image born in their own minds.

Nature is both a trickster and a humorist, and ever sets the will of the species beyond the discernment of the individual. The picador has to blindfold his horse in order to get him into the bull-ring, and likewise, Dan Cupid does the myopic to a purpose.

For aught we know, the lovely Beatrice of Dante was only a Disagreeable Girl, clothed in a poet's fancy, and idealized by a dreamer. Fortunate was Dante that he wors.h.i.+pped her afar, that he never knew her well enough to be undeceived, and so walked through life in love with love, sensitive, saintly, sweetly sad and most divinely happy in his melancholy.

The Neutral

There is known to me a prominent business house that by the very force of its directness and worth has incurred the enmity of many rivals. In fact, there is a very general conspiracy on hand to put the inst.i.tution down and out. In talking with a young man employed by this house, he yawned and said, "Oh, in this quarrel I am neutral."