fatman17
PDF THINK TANK: CONSULTANT
- Joined
- Apr 24, 2007
- Messages
- 32,563
- Reaction score
- 98
- Country
- Location
PURPLE PATCH: Actors Hl Mencken
In France they call an actor a mas-tu-vu, which, anglicised, means a have-you-seen-me? The average actor holds the mirror up to nature and sees in it only the reflection of himself. I take the words from a late book on the so-called art of the mime by the editor of a magazine devoted to the stage. The learned author evades plumbing the psychological springs of this astounding and almost invariable vanity, this endless bumptiousness of the cabotin in all climes and all ages. His one attempt is banal: a foolish public makes much of him. With all due respect, Nonsense! The larval actor is full of hot and rancid gases long before a foolish public has had a fair chance to make anything of him at all, and he continues to emit them long after it has tried him, condemned him and bidden him be damned. There is, indeed, little choice in the virulence of their self-respect between a Broadway star who is slobbered over by press agents and fat women, and the poor ham who plays thinking parts in a No. 7 road company. The two are alike charged to the limit; one more ohm, or molecule, and they would burst. Actors begin where militia colonels, Fifth Avenue rectors and Chautauqua orators leave off. The most modest of them (barring, perhaps, a few unearthly traitors to the craft) matches the conceit of the solitary pretty girl on a slow ship. In their lofty eminence of pomposity they are challenged only by Anglican bishops and grand opera tenors. I have spoken of the danger they run of bursting. In the case of tenors it must sometimes actually happen; even the least of them swells visibly as he sings, and permanently as he grows older.
But why are actors, in general, such blatant and obnoxious *****, such arrant posturers and wind-bags? Why is it as surprising to find an unassuming and likable fellow among them as to find a Greek without fleas? The answer is quite simple. To reach it one needs but consider the type of young man who normally gets stage-struck. Is he, taking averages, the intelligent, alert, ingenious, ambitious young fellow? Is he the young fellow with ideas in him, and a yearning for hard and difficult work? Is he the diligent reader, the hard student, the eager inquirer? No. He is, in the overwhelming main, the neighbourhood fop and beau, the human clothes-horse, the nimble squire of dames. The youths of more active mind, emerging from adolescence, turn to business and the professions; the men that they admire and seek to follow are men of genuine distinction, men who have actually done difficult and valuable things, men who have fought good (if often dishonest) fights and are respected and envied by other men. The stage-struck youth is of a softer and more shallow sort. He seeks, not a chance to test his mettle by hard and useful work, but an easy chance to shine. He craves the regard, not of men, but of women. He is, in brief, a hollow and incompetent creature, a strutter and poseur, a popinjay, a pretty one.
I thus beg the question, but explain the actor. He is this silly youngster grown older, but otherwise unchanged. An initiate of a profession requiring little more information, culture or capacity for ratiocination than that of the lady of joy, and surrounded in his work-shop by men who are as stupid, as vain and as empty as he himself will be in the years to come, he suffers an arrest of development, and the little intelligence that may happen to be in him gets no chance to show itself. The result, in its usual manifestation, is the average bad actor a man with the cerebrum of a floor-walker and the vanity of a fashionable clergyman. The result, in its highest and holiest form is the actor-manager, with his retinue of press-agents, parasites and worshipping wenches perhaps the most preposterous and awe-inspiring donkey that civilisation has yet produced. To look for sense in a fellow of such equipment and such a history would be like looking for serviettes in a sailors boarding-house.
By the same token, the relatively greater intelligence of actresses is explained. They are, at their worst, quite as bad as the generality of actors. There are she-stars who are all temperament and balderdash intellectually speaking, beggars on horseback, servant girls well washed. But no one who knows anything about the stage need be told that it can show a great many more quick-minded and self-respecting women than intelligent men. And why? Simply because its women are recruited, in the main, from a class much above that which furnishes its men. It is, after all, not unnatural for a woman of considerable intelligence to aspire to the stage. It offers her, indeed, one of the most tempting careers that is open to her. She cannot hope to succeed in business, and in the other professions she is an unwelcome and much-scoffed-at intruder, but on the boards she can meet men on an equal footing. It is, therefore, no wonder that women of a relatively superior class often take to the business... Once they embrace it, their superiority to their male colleagues is quickly manifest. All movements against puerility and imbecility in the drama have originated, not with actors, but with actresses that is, in so far as they have originated among stage folks at all. The Ibsen pioneers were such women as Helena Modjeska, Agnes Sorma and Janet Achurch; the men all hung back. Ibsen, it would appear, was aware of this superior alertness and took shrewd advantage of it. At all events, his most tempting acting parts are feminine ones.
The girls of the stage demonstrate this tendency against great difficulties. They have to carry a heavy handicap in the enormous number of women who seek the footlights merely to advertise their real profession, but despite all this, anyone who has the slightest acquaintance with stagefolk will testify that, taking one with another, the women have vastly more brains than the men and are appreciably less vain and idiotic. Relatively few actresses of any rank marry actors. They find close communion with the strutting brethren psychologically impossible. Stock-brokers, dramatists and even theatrical managers are greatly to be preferred.
Iconoclastic journalist, essayist, and critic HL Mencken (1880-1956) is most famous for his witty, combative and yet graceful writing style. The above essay first appeared in Damn! A Book of Calumny, first published in 1918 by the Philip Goodman Company
In France they call an actor a mas-tu-vu, which, anglicised, means a have-you-seen-me? The average actor holds the mirror up to nature and sees in it only the reflection of himself. I take the words from a late book on the so-called art of the mime by the editor of a magazine devoted to the stage. The learned author evades plumbing the psychological springs of this astounding and almost invariable vanity, this endless bumptiousness of the cabotin in all climes and all ages. His one attempt is banal: a foolish public makes much of him. With all due respect, Nonsense! The larval actor is full of hot and rancid gases long before a foolish public has had a fair chance to make anything of him at all, and he continues to emit them long after it has tried him, condemned him and bidden him be damned. There is, indeed, little choice in the virulence of their self-respect between a Broadway star who is slobbered over by press agents and fat women, and the poor ham who plays thinking parts in a No. 7 road company. The two are alike charged to the limit; one more ohm, or molecule, and they would burst. Actors begin where militia colonels, Fifth Avenue rectors and Chautauqua orators leave off. The most modest of them (barring, perhaps, a few unearthly traitors to the craft) matches the conceit of the solitary pretty girl on a slow ship. In their lofty eminence of pomposity they are challenged only by Anglican bishops and grand opera tenors. I have spoken of the danger they run of bursting. In the case of tenors it must sometimes actually happen; even the least of them swells visibly as he sings, and permanently as he grows older.
But why are actors, in general, such blatant and obnoxious *****, such arrant posturers and wind-bags? Why is it as surprising to find an unassuming and likable fellow among them as to find a Greek without fleas? The answer is quite simple. To reach it one needs but consider the type of young man who normally gets stage-struck. Is he, taking averages, the intelligent, alert, ingenious, ambitious young fellow? Is he the young fellow with ideas in him, and a yearning for hard and difficult work? Is he the diligent reader, the hard student, the eager inquirer? No. He is, in the overwhelming main, the neighbourhood fop and beau, the human clothes-horse, the nimble squire of dames. The youths of more active mind, emerging from adolescence, turn to business and the professions; the men that they admire and seek to follow are men of genuine distinction, men who have actually done difficult and valuable things, men who have fought good (if often dishonest) fights and are respected and envied by other men. The stage-struck youth is of a softer and more shallow sort. He seeks, not a chance to test his mettle by hard and useful work, but an easy chance to shine. He craves the regard, not of men, but of women. He is, in brief, a hollow and incompetent creature, a strutter and poseur, a popinjay, a pretty one.
I thus beg the question, but explain the actor. He is this silly youngster grown older, but otherwise unchanged. An initiate of a profession requiring little more information, culture or capacity for ratiocination than that of the lady of joy, and surrounded in his work-shop by men who are as stupid, as vain and as empty as he himself will be in the years to come, he suffers an arrest of development, and the little intelligence that may happen to be in him gets no chance to show itself. The result, in its usual manifestation, is the average bad actor a man with the cerebrum of a floor-walker and the vanity of a fashionable clergyman. The result, in its highest and holiest form is the actor-manager, with his retinue of press-agents, parasites and worshipping wenches perhaps the most preposterous and awe-inspiring donkey that civilisation has yet produced. To look for sense in a fellow of such equipment and such a history would be like looking for serviettes in a sailors boarding-house.
By the same token, the relatively greater intelligence of actresses is explained. They are, at their worst, quite as bad as the generality of actors. There are she-stars who are all temperament and balderdash intellectually speaking, beggars on horseback, servant girls well washed. But no one who knows anything about the stage need be told that it can show a great many more quick-minded and self-respecting women than intelligent men. And why? Simply because its women are recruited, in the main, from a class much above that which furnishes its men. It is, after all, not unnatural for a woman of considerable intelligence to aspire to the stage. It offers her, indeed, one of the most tempting careers that is open to her. She cannot hope to succeed in business, and in the other professions she is an unwelcome and much-scoffed-at intruder, but on the boards she can meet men on an equal footing. It is, therefore, no wonder that women of a relatively superior class often take to the business... Once they embrace it, their superiority to their male colleagues is quickly manifest. All movements against puerility and imbecility in the drama have originated, not with actors, but with actresses that is, in so far as they have originated among stage folks at all. The Ibsen pioneers were such women as Helena Modjeska, Agnes Sorma and Janet Achurch; the men all hung back. Ibsen, it would appear, was aware of this superior alertness and took shrewd advantage of it. At all events, his most tempting acting parts are feminine ones.
The girls of the stage demonstrate this tendency against great difficulties. They have to carry a heavy handicap in the enormous number of women who seek the footlights merely to advertise their real profession, but despite all this, anyone who has the slightest acquaintance with stagefolk will testify that, taking one with another, the women have vastly more brains than the men and are appreciably less vain and idiotic. Relatively few actresses of any rank marry actors. They find close communion with the strutting brethren psychologically impossible. Stock-brokers, dramatists and even theatrical managers are greatly to be preferred.
Iconoclastic journalist, essayist, and critic HL Mencken (1880-1956) is most famous for his witty, combative and yet graceful writing style. The above essay first appeared in Damn! A Book of Calumny, first published in 1918 by the Philip Goodman Company
