"Yes, isn't it sad that spirits so gay should be gone from a world that needs gayety so much? That is probably the worst of death; it is so indiscriminate," the reader thoughtfully observed.

"But aren't you," we asked, "getting rather far away from the question whether the pleasure of experience isn't greater than the pleasure of inexperience – whether later operas don't give more joy than the first?"

"Was that the question?" he returned. "I thought it was whether Italian opera was not as much at home in exile as in its native land."

"Well, make it that," we responded, tolerantly.

"Oh no," he met us half-way. "But it naturalizes itself everywhere. They have it in St. Petersburg and in Irkutsk, for all I know, and certainly in Calcutta and Australia, the same as in Milan and Venice and Naples, or as here in New York, where everything is so much at home, or so little. It's the most universal form of art."

"Is it? Why more so than sculpture or painting or architecture?"

Our demand gave the reader pause. Then he said: "I think it is more immediately universal than the other forms of art. These all want time to denationalize themselves. It is their nationality which first authorizes them to be; but it takes decades, centuries sometimes, for them to begin their universal life. It seems different with operas. 'Cavalleria Rusticana' was as much at home with us in its first year as 'L'Elisir d'Amore' is now in its sixtieth or seventieth."

"But it isn't," we protested, "denationalized. What can be more intensely Italian than an Italian opera is anywhere?"

"You're right," the reader owned, as the reader always must, if honest, in dealing with the writer. "It is the operatic audience, not the opera, which is denationalized when the opera becomes universal. We are all Italians here to-night. I only wish we were in our native land, listening to this musical peal of ghostly laughter from the past."

The reader was silent a moment while the vast house buzzed and murmured and babbled from floor to roof. Perhaps the general note of the conversation, if it could have been tested, would have been found voluntary rather than spontaneous; but the sound was gay, and there could be no question of the splendor of the sight. We may decry our own almost as much as we please, but there is a point where we must cease to depreciate ourselves; even for the sake of evincing our superiority to our possessions, we must not undervalue some of them. One of these is the Metropolitan Opera House, where the pride of wealth, the vanity of fashion, the beauty of youth, and the taste and love of music fill its mighty cup to the brim in the proportions that they bear to one another in the community. Wherever else we fail of our ideal, there we surely realize it on terms peculiarly our own. Subjectively the scene is intensely responsive to the New York spirit, and objectively it is most expressive of the American character in that certain surface effect of thin brilliancy which remains with the spectator the most memorable expression of its physiognomy.

No doubt something like this was in the reader's mind when he resumed, with a sigh: "It's rather pathetic how much more magnificently Italian opera has always been circumstanced in exile than at home. It had to emigrate in order to better its fortunes; it could soon be better seen if not heard outside of Italy than in its native country. It was only where it could be purely conventional as well as ideal that it could achieve its greatest triumphs. It had to make a hard fight for its primacy among the amusements that flatter the pride as well as charm the sense. You remember how the correspondents of Mr. Spectator wrote to him in scorn of the affected taste of 'the town' when the town in London first began to forsake the theatre and to go to the opera?"

"Yes, they were very severe on the town for pretending to a pleasure imparted in a language it could not understand a word of. They had all the reason on their side, and they needed it; but the opera is independent of reason, and the town felt that for its own part it could dispense with reason, too. The town can always do that. It would not go seriously or constantly to English opera, though ever so much invited to do so, for all the reasons, especially the patriotic reasons. Isn't it strange, by-the-way, how English opera is a fashion, while Italian opera remains a passion? We had it at its best, didn't we, in the Gilbert and Sullivan operas, which were the most charming things in the world; but they charmed only for a while, and it may be doubted whether they ever greatly charmed the town. The manager of the Metropolitan replaces German with Italian opera, and finds his account in it, but could he find his account in it if he put on 'The Mikado' instead of 'L'Elisir d'Amore'? If he did so, the town would not be here. Why?"

The reader did not try to answer at once. He seemed to be thinking, but perhaps he was not; other readers may judge from his reply, which, when it came, was this: "There seems to be something eternally as well as universally pleasing in Italian opera; but what the thing is, or how much of a thing it is, I wouldn't undertake to say. Possibly the fault of English opera is its actuality. It seizes upon a contemporaneous mood or fad, and satirizes it; but the Italian opera at its lightest deals with a principle of human nature, and it is never satirical; it needn't be, for it is as independent of the morals as of the reasons. It isn't obliged, by the terms of its existence, to teach, any more than it is obliged to convince. It's the most absolute thing in the world; and from its unnatural height it can stoop at will in moments of enrapturing naturalness without ever losing poise. Wasn't that delightful where Caruso hesitated about his encore, and then, with a shrug and a waft of his left hand to the house, went off in order to come back and give his aria with more effect? That was a touch of naturalness not in the scheme of the opera."

"Yes, but it was more racial, more personal, than natural. It was delicious, but we are not sure we approved of it."

"Ah, in Italian opera you're not asked to approve; you're only desired to enjoy!"

"Well, then that bit of racial personality was of the effect of actuality, and it jarred."

"Perhaps you're right," the reader sighed, but he added: "It was charming; yes, it made itself part of the piece. Nemorino would have done just as Caruso did."

At the last fall of the curtain the reader and the writer rose in unison, a drop of that full tide of life which ebbed by many channels out of the vast auditorium, and in two or three minutes left it dry. They stayed in their duplex personality to glance at the silken evanescences from the boxes, and then, being in the mood for the best society, they joined the shining presences in the vestibule where these waited for their carriages and automobiles. Of this company the interlocutors felt themselves so inseparably part that they could with difficulty externate themselves so far as to observe that it was of the quality of "the town" which had gone to Italian opera from the first.

In Mr. Spectator's time the town would have been lighted by the smoky torches of linkboys to its chairs; now it was called to its electric autos in the blaze of a hundred incandescent bulbs; but the difference was not enough to break the tradition. There was something in the aspect of that patrician throng, as it waited the turn of each, which struck the reader and writer jointly as a novel effect from any American crowd, but which the writer scarcely dares intimate to the general reader, for the general reader is much more than generally a woman, and she may not like it. Perhaps we can keep it from offending by supposing that the fact can be true only of the most elect socially, but in any case the fact seemed to be that the men were handsomer than the women. They were not only handsomer, but they were sweller (if we may use a comparative hitherto unachieved) in look, and even in dress.

How this could have happened in a civilization so peculiarly devoted as ours to the evolution of female beauty and style is a question which must be referred to scientific inquiry. It does not affect the vast average of woman's loveliness and taste among us in ranks below the very highest; this remains unquestioned and unquestionable; and perhaps, in the given instance, it was an appearance and not a fact, or perhaps the joint spectator was deceived as to the supreme social value of those rapidly dwindling and dissolving groups.

The reader and the writer were some time in finding their true level, when they issued into the common life of the street, and they walked home as much like driving home as they could. On the way the reader, who was so remotely lost in thought that the writer could scarcely find him, made himself heard in a musing suspiration: "There was something missing. Can you think what it was?"

"Yes, certainly; there was no ballet."

"Ah, to be sure: no ballet! And there used always to be a ballet! You remember," the reader said, "how beatific it always was to have the minor coryphees subside in nebulous ranks on either side of the stage, and have the great planetary splendor of the prima ballerina come swiftly floating down the centre to the very footlights, beaming right and left? Ah, there's nothing in life now like that radiant moment! But even that was eclipsed when she rose on tiptoe and stubbed it down the scene on the points of her slippers, with the soles of her feet showing vertical in the act. Why couldn't we have had that to-night? Yes, we have been cruelly wronged."

"But you don't give the true measure of our injury. You forget that supreme instant when the master-spirit of the ballet comes skipping suddenly forward, and leaping into the air with calves that exchange a shimmer of kisses, and catches the prima ballerina at the waist, and tosses her aloft, and when she comes down supports her as she bends this way and that way, and all at once stiffens for her bow to the house. Think of our having been defrauded of that!"

"Yes, we have been wickedly defrauded." The reader was silent for a while, and then he said: "I wonder if anybody except the choreographic composer ever knew what the story of any ballet was? Were you ever able to follow it?"

"Certainly not. It is bad enough following the opera. All that one wishes to do in one case is to look, just as in the other case all one wishes to do is to listen. We would as lief try to think out the full meaning of a Browning poem in the pleasure it gave us, as to mix our joy in the opera or the ballet with any severe question of their purport."

VI
THE SUPERIORITY OF OUR INFERIORS

The satirical reader introduced himself with a gleam in his eye which kindled apprehension in the unreal editor's breast, and perhaps roused in him a certain guilty self-consciousness.

"I didn't know," the reader said, "that you were such a well-appointed arbiter elegantiarum."

"Meaning our little discourse last month on the proper form of addressing letters?" the editor boldly grappled with the insinuation. "Oh yes; etiquette is part of our function. We merely hadn't got round to the matter before. You liked our remarks?"

"Very much," our visitor said, with the fine irony characteristic of him. "All the more because I hadn't expected that sort of thing of you. What I have expected of you hitherto was something more of the major morality."

"But the large-sized morals did not enter into that scheme. We deal at times with the minor morality, too, if the occasion demands, as we have suggested. You should not have been surprised to find politeness, as well as righteousness, advocated or applauded here. Naturally, of course, we prefer the larger-sized morals as questions for discussion. Had you one of the larger-sized questions of morality to present?"

"I was thinking it was a larger-sized question of manners."

"For example."

"The experience of one of those transatlantic celebrities who seem to be rather multiplying upon us of late, and who come here with a proclamation of their worship of American women ready to present, as if in print, to the swarming interviewers on the pier, and who then proceed to find fault with our civilization on every other point, almost before they drive up to their hotels."

"But isn't that rather an old story?"

"I suppose it is rather old, but it always interests us; we are never free from that longing for a flattered appearance in the eyes of others which we so seldom achieve. This last, or next to last, celebrity – in the early winter it is impossible to fix their swift succession – seems to have suffered amaze at the rude behavior of some dairymaids in the milk-room of the lady who was showing the celebrity over her premises. I didn't understand the situation very clearly. The lady must have been a lady farmer, in order to have a milk-room with dairymaids in it; but in any case the fact is that when the lady entered with the celebrity the maids remained seated, where they were grouped together, instead of rising and standing in the presence of their superiors, as they would have done in the hemisphere that the celebrity came from."

"Well, what came of it?"

"Oh, nothing. It was explained to the celebrity that the maids did not rise because they felt themselves as good as their mistress and her guest, and saw no reason for showing them a servile deference: that this was the American ideal."

"In the minds of those Swedish, Irish, English, Polish, German, or Bohemian dairymaids," we murmured, dreamily, and when our reader roused us from our muse with a sharp "What?" we explained, "Of course they were not American dairymaids, for it stands to reason that if they were dairymaids they could not be Americans, or if Americans they could not be dairymaids."

"True," our friend assented, "but all the same you admit that they were behaving from an American ideal?"

"Yes."

"Well, that ideal is what the celebrity objects to. The celebrity doesn't like it – on very high grounds."

"The grounds of social inequality, the inferiority of those who work to those who pay, and the right of the superiors to the respect of the inferiors?"

"No, the politeness due from one class to another."

"Such as lives between classes in Europe, we suppose. Well, that is very interesting. Is it of record that the lady and her guest, on going into the milk-room where the dairymaids remained rudely seated, bowed or nodded to them or said, 'Good-day, young ladies'?"

"No, that is not of record."

"Their human quality, their human equality, being altogether out of the question, was probably in no wise recognized. Why, then, should they have recognized the human quality of their visitors?" Our satirical reader was silent, and we went on. "There is something very droll in all that. We suppose you have often been vexed, or even outraged, by the ingratitude of the waiter whom you had given a handsome tip, over and above the extortionate charge of the house, and who gathered up your quarter or half-dollar and slipped it into his pocket without a word, or even an inarticulate murmur, of thanks?"

"Often. Outraged is no word for it."

"Yes," we assented, feeling our way delicately. "Has it ever happened that in the exceptional case where the waiter has said, 'Thank you very much,' or the like, you have responded with a cordial, 'You're welcome,' or, 'Not at all'?"

"Certainly not."

"Why not?"

"Because – because – those are terms of politeness between – "

Our friend hesitated, and we interrogatively supplied the word, "Equals? There are always difficulties between unequals. But try this, some day, and see what a real gratitude you will get from the waiter. It isn't infallible, but the chances are he will feel that you have treated him like a man, and will do or say something to show his feeling: he will give a twitch to your under-coat when he has helped you on with your top-coat, which will almost pull you over. We have even tried saying 'You are welcome' to a beggar. It's astonishing how they like it. By-the-way, have you the habit of looking at your waiter when he comes to take your order; or do you let him stand facing you, without giving him a glance above the lower button of his poor, greasy waistcoat?"

"No, the theory is that he is part of the mechanism of the establishment."

"That is the theory. But it has its inconveniences. We ourselves used to act upon it, but often, when we found him long in bringing our order, we were at a loss which waiter to ask whether it would be ready some time during the evening; and occasionally we have blown up the wrong waiter, who did not fail to bring us to shame for our error."

"They do look so confoundedly alike," our visitor said, thoughtfully.

"We others look confoundedly alike to them, no doubt. If they studied us as little as we study them, if they ignored us as contemptuously as we do them, upon the theory that we, too, are part of the mechanism, the next man would be as likely as we to get our dinner."

"They are paid to study us," our visitor urged.

"Ah, paid! The intercourse of unequals is a commercial transaction, but when the inferiors propose to make it purely so the superiors object: they want something to boot, something thrown in, some show of respect, some appearance of gratitude. Perhaps those dairymaids did not consider that they were paid to stand up when their employer and the visiting celebrity came into the milk-room, and so, unless they were civilly recognized – we don't say they weren't in this case – they thought they would do some of the ignoring, too. It is surprising how much the superiors think they ought to get for their money from the inferiors in that commercial transaction. For instance, they think they buy the right to call their inferiors by their first names, but they don't think they sell a similar right with regard to themselves. They call them Mary and John, but they would be surprised and hurt if the butler and waitress addressed them as Mary and John. Yet there is no reason for their surprise. Do you remember in that entrancing and edifying comedy of 'Arms and the Man' – Mr. Bernard Shaw's very best, as we think – the wild Bulgarian maid calls the daughter of the house by her Christian name? 'But you mustn't do that,' the mother of the house instructs her. 'Why not?' the girl demands. 'She calls me Louka.'"

"Capital!" our friend agreed. "But, of course, Shaw doesn't mean it."

"You never can tell whether he means a thing or not. We think he meant in this case, as Ibsen means in all cases, that you shall look where you stand."

Our satirist seemed to have lost something of his gayety. "Aren't you taking the matter a little too seriously?"

"Perhaps. But we thought you wanted us to be more serious than we were about addressing letters properly. This is the larger-sized morality, the real No. 11 sort, and you don't like it, though you said you expected it of us."

"Oh, but I do like it, though just at present I hadn't expected it. But if you're in earnest you must admit that the lower classes with us are abominably rude. Now, I have the fancy – perhaps from living on the Continent a good deal in early life, where I formed the habit – of saying good-morning to the maid or the butler when I come down. But they never seem to like it, and I can't get a good-morning back unless I dig it out of them. I don't want them to treat me as a superior; I only ask to be treated as an equal."

"We have heard something like that before, but we doubt it. What you really want is to have your condescension recognized; they feel that, if they don't know it. Besides, their manners have been formed by people who don't ask good-morning from them; they are so used to being treated as if they were not there that they cannot realize they are there. We have heard city people complain of the wane of civility among country people when they went to them in the summer to get the good of their country air. They say that the natives no longer salute them in meeting, but we never heard that this happened when they first saluted the natives. Try passing the time of day with the next farmer you meet on a load of wood, and you will find that the old-fashioned civility is still to be had for the asking. But it won't be offered without the asking; the American who thinks from your dress and address that you don't regard him as an equal will not treat you as one at the risk of a snub; and he is right. As for domestics – or servants, as we insolently call them – their manners are formed on their masters', and are often very bad. But they are not always bad. We, too, have had that fancy of yours for saying good-morning when we come down; it doesn't always work, but it oftener works than not. A friend of ours has tried some such civility at others' houses: at his host's house when the door was opened to him, arriving for dinner, and he was gloomily offered a tiny envelope with the name of the lady he was to take out. At first it surprised, but when it was imagined to be well meant it was apparently liked; in extreme cases it led to note of the weather; the second or third time at the same house it established something that would have passed, with the hopeful spectator, for a human relation. Of course, you can't carry this sort of thing too far. You can be kind, but you must not give the notion that you do not know your place."

"Ah! You draw the line," our friend exulted. "I thought so. But where?"

"At the point where you might have the impression that you respected butlers, when you merely loved your fellow-men. You see the difference?"

"But isn't loving your fellow-men enough? Why should you respect butlers?"

"To be sure. But come to think of it, why shouldn't you? What is it in domestic employ that degrades, that makes us stigmatize it as 'service'? As soon as you get out-of-doors the case changes. You must often have seen ladies fearfully snubbed by their coachmen; and as for chauffeurs, who may kill you or somebody else at any moment, the mental attitude of the average automobilaire toward them must be one of abject deference. But there have been some really heroic, some almost seraphic, efforts to readjust the terms of a relation that seems to have something essentially odious in it. In the old times, the times of the simple life now passed forever, when the daughter of one family 'lived out' in another, she ate with the family and shared alike with them. She was their help, but she became their hindrance when she insisted upon the primitive custom after 'waiting at table' had passed the stage when the dishes were all set down, and the commensals 'did their own stretching.' Heroes and seraphs did their utmost to sweeten and soften the situation, but the unkind tendency could not be stayed. The daughter of the neighbor who 'lived out' became 'the hired girl,' and then she became the waitress, especially when she was of neighbors beyond seas; and then the game was up. Those who thought humanely of the predicament and wished to live humanely in it tried one thing and tried another. That great soul of H.D.L., one of the noblest and wisest of our economic reformers, now gone to the account which any might envy him, had a usage which he practised with all guests who came to his table. Before they sat down he or his wife said, looking at the maid who was to serve the dinner, 'This is our friend, Miss Murphy'; and then the guests were obliged in some sort to join the host and hostess in recognizing the human quality of the attendant. It was going rather far, but we never heard that any harm came of it. Some thought it rather odd, but most people thought it rather nice."

"And you advocate the general adoption of such a custom?" our friend asked, getting back to the sarcasm of his opening note. "Suppose a larger dinner, a fashionable dinner, with half a dozen men waiters? That sort of thing might do at the table of a reformer, which only the more advanced were invited to; but it wouldn't work with the average retarded society woman or clubman."

"What good thing works with them?" we retorted, spiritedly. "But no, the custom would not be readily adopted even among enlightened thinkers. We do not insist upon it; the men and the maids might object; they might not like knowing the kind of people who are sometimes asked to quite good houses. To be sure, they are not obliged to recognize them out of the house."

"But what," our friend asked, "has all this got to do with the question of 'the decent respect' due from domestics, as you prefer to call them, to their employers?"

"As in that case of the dairymaids which we began with? But why was any show of respect due from them? Was it nominated in the bond that for their four or five dollars a week they were to stand up when their 'mistress' and her 'company' entered the room? Why, in fine, should any human being respect another, seeing what human beings generally are? We may love one another, but respect! No, those maids might, and probably did, love their mistress; but they felt that they could show their love as well sitting down as standing up. They would not stand up to show their love for one another."

"Then you think there is some love lost between the master and man or mistress and maid nowadays," our beaten antagonist feebly sneered.

"The masters and mistresses may not, but the men and maids may, have whole treasures of affection ready to lavish at the first sign of a desire for it; they do not say so, for they are not very articulate. In the mean time the masters and mistresses want more than they have paid for. They want honor as well as obedience, respect as well as love, the sort of thing that money used to buy when it was worth more than it is now. Well, they won't get it. They will get it less and less as time goes on. Whatever the good new times may bring, they won't bring back the hypocritical servility of the good old times. They – "

We looked round for our visiting reader, but he had faded back into the millions of readers whom we are always addressing in print.