Pieces of Hate; And Other Enthusiasms

George Morton might never have gone to any college if it had not been for Sylvia Planter. He was enamored of her from the very beginning when old Planter engaged him to accompany his daughter on rides, but his admiration did not become articulate until she fell off her horse. She seems to have done it extremely well. "He saw her horse refuse," writes Mr. Camp, "straightening his knees and sliding in the marshy ground. He watched Sylvia, with an ease and grace nearly unbelievable, somersault across the hedge and out of sight in the meadow beyond."

It seemed to us that the horse should have received some of the credit for the ease with which Sylvia shot across the hedge, but young Morton was much too intent upon the fate of his goddess to have eyes for anything else. When he found her lying on the ground she was unconscious, and so he told her of his love. That brought her to and she called him "You – you – stable boy." And so George decided to go to college.

His high school preparation had been scant and irregular. He went to Princeton, and after two months' cramming passed all his examinations. Football attracted him from the first as a means to the advancement which he desired. "With surprised eyes," writes our author, "he saw estates as extravagant as Oakmont, and frequently in better taste. Little by little he picked up the names of the families that owned them. He told himself that some day he would enter those places as a guest, bowed to by such servants as he had been. It was possible, he promised himself bravely, if only he could win a Yale or a Harvard game."

Perhaps this explains why one meets so few Princeton men socially. Some, we have found, are occasionally invited to drop in after dinner. These, we assume, are recruited from the ranks of those Princetonians who have tied Yale or Harvard or at least held the score down.

Like Mr. Minnigerode, Mr. Camp employs symbolism in his story. In the Yale novel we had Corliss evidently standing for Coy. Just which Princeton hero George Morton represents we are not prepared to say. In fact, the only Princeton name which comes to mind at the moment is that of Big Bill Edwards who used to sit in the Customs House and throw them all for a loss. Morton can hardly be intended for Edwards because it seems unlikely that anybody would ever have engaged Big Bill to ride horses; no, not even to break them. A little further on, however, we are introduced to the Princeton coach, a certain Mr. Stringham. Here, to be sure, identification is easy. Stringham, we haven't a doubt, is Roper. We could wish Mr. Camp had been more subtle. He might, for instance, have called him Cordier.

In some respects Morton proved an even better football player than Corliss. He did not score any greater number of touchdowns, but he had more of an air with him. Thus, in the account of the Harvard game it is recorded: "Then, with his interference blocked and tumbling, George yielded to his old habit and slipped off to one side at a hazard. The enemy's secondary defense had been drawing in, there was no one near enough to stop him within those ten yards and he went over for a touchdown and casually kicked the goal."

Eventually, George Morton did get asked to all the better houses, but still Sylvia spurned him. "Go away and don't bother me," was the usual form of her replies to his ardent words of wooing. Naturally he knew that he had her on the run. A man who had taken more than one straight arm squarely in the face during the course of his football career was not to be rebuffed by a slip of a girl.

The war delayed matters for a time, and George went and was good at that too. He was a major before he left Plattsburgh. For a time we feared that he was in danger of becoming a snob, but the great democratizing forces of the conflict carried him into the current. One of the most thrilling chapters in the book tells how he exposed his life under very heavy fire to go forward and rescue an American who turned out to be a Yale man.

There was no stopping George Morton. In the end he wore Sylvia down. Nothing else could be expected from such a man. German machine guns and heavy artillery had failed to stop him and he had even hit the Harvard line, upon occasion, without losing a yard.

His head was hard and he could not take a hint. In the end Sylvia just had to marry him. Her right hand swing was not good enough. "As in a dream he went to her, and her curved lips moved beneath his, but he pressed them closer so that she couldn't speak; for he felt encircling them in a breathless embrace, as his arms held her, something thrilling and rudimentary that neither of them had experienced before – "

And as we read the further details of the love scene it seemed to us that George Morton had made a most fortunate choice when he decided to go to Princeton. His football experience stood him in good stead in his love-making, for he had been trained with an eleven which tackled around the neck.

X

MR. DEMPSEY'S FIVE-FOOT SHELF

It is hardly fair to expect Jack Dempsey to take literature very seriously. How, for instance, can he afford to pay much attention to George Bernard Shaw who declared just before the fight that Carpentier could not lose and ought to be quoted at odds of fifty to one? From the point of view of Dempsey, then, creative evolution, the superman and all the rest, are the merest moonshine. He might well take the position that since Mr. Shaw was so palpably wrong about the outcome of the fight two days before it happened, it scarcely behooves anybody to pay much attention to his predictions as to the fate of the world and mankind two thousand years hence.

Whatever the reason, Jack Dempsey does not read George Bernard Shaw much. But he has heard of him. When some reporter came to Dempsey a day or so before the fight and told him that Shaw had fixed fifty to one as the proper odds on Carpentier, the champion made no comment. The newspaper gossiper, disappointed of his sensation, asked if Dempsey had ever heard of Shaw and the fighter stoutly maintained that he had. The examination went no further but it is fair to assume that Dempsey did know the great British sporting writer. It was not remarkable that he paid no attention to his prediction. Dempsey would not even be moved much by a prediction from Hughie Fullerton.

In other words literature and life are things divorced in Dempsey's mind. He does read. The first time we ever saw Dempsey he discussed books with not a little interest. He was not at his training quarters when we arrived but his press agent showed us about – a singularly reverential man this press agent. "This," he said, and he seemed to lower his voice, "is the bed where Jack Dempsey sleeps." All the Louises knew better beds and so did Lafayette even when a stranger in a strange land. Washington himself fared better in the midst of war. Nor can it be said that there was anything very compelling about the room in which Dempsey slept. It had air but not much distinction. There were just two pictures on the wall. One represented a heavy surf upon an indeterminate but rather rockbound coast and the other showed a lady asleep with cupids hovering about her bed. Although the thought is erotic the artist had removed all that in the execution.

Much more striking was the fact that upon a chair beside the bed of Dempsey lay a couple of books and a magazine. It was not The Bookman but Photo Play. The books were "The Czar's Spy" by William Le Queux, "The Spoilers" by Rex Beach, and at least one other Western novel which we have unfortunately forgotten. It was, as we remember it, the Luck of the Lazy Something or Other. The press agent said that Jack read quite a little and pointed to the reading light which had been strung over his bed. He then went on to show us the clothes closet and the bureau of the champion to prove that he was no slave to fashion. We can testify that only one pair of shoes in the room had gray suede tops. Then we saw the kitchen and were done.

There had been awe in the tones of the conductor from the beginning. "Jack's going to have roast lamb for dinner to-night," he announced in an awful hush. Even as we went out he could not resist lowering his voice a little as he said, "This is the hat rack. This is where the champion puts his hat." We had gone only fifty yards away from the house when a big brown limousine drew up. "That," said the press agent, and this time we feared he was going to die, "is Jack Dempsey himself."

The preparation had been so similar to the first act of "Enter Madame" that we expected temperament and gesture from the star. He put us wholly at ease by being much more frightened than any one in the visiting party. As somebody has said somewhere, "Any mouse can make this elephant squeal." Jack Dempsey is decidedly a timid man and we found later that he was a gentle one. He answered, "Yes, sir," and "No, sir," at first. If we had his back and shoulders we'd have a civil word for no man. By and by he grew a little more at ease and somebody asked him what he read. He was not particularly strong on the names of books and he always forgot the author, which detracts somewhat from this article as a guide for readers. There were almost three hundred books at his disposal, since his training quarters had once been an aviation camp. These were the books of the fliers. Practically all the popular novelists and short story writers were represented. We remember seeing several titles by Mary Roberts Rinehart, Irvin Cobb, Zane Grey, Rupert Hughes, and Rex Beach. Older books were scarce. The only one we noticed was "A Tale of Two Cities." This Dempsey had not read. Perhaps Jack Kearns advised against it on account of the possible disturbing psychological effects of the chapter with all the counting.

Dempsey said he had devoted most of his time to Western novels. When questioned he admitted that he did not altogether surrender himself to them. "I was a cowboy once for a while," he said. "There's a lot of hokum in those books." But when pressed as to what he really liked his face did light up and he even remembered the name of the book. "There was one book I've been reading," he burst out; "it's a fine book. It's called 'The Czar's Spy.'"

"Perhaps," suggested Ruth Hale of the visiting party, "a grand duke would say there was a lot of hokum in that."

Dempsey was not to be deterred by any such higher criticism. Never having been a grand duke, he did not worry about the accuracy of the story. It was in a field far apart from life. That we gathered was his idea of the proper field for fiction. In life Dempsey is a stern realist. It is only in reading that he is romantic. A more impressionable man would have been disturbed by the air of secrecy which surrounded the camp of Carpentier. That never worried Dempsey. He prepared himself and never thought up contingencies. He did not even like to talk fight. None of us drew him out much about boxing. Somebody told him that Jim Corbett had reported that when he first met Carpentier he had been vastly tempted to make a feint at the Frenchman to see whether or not he would fall into a proper attitude of defense.

"Yes," giggled Dempsey, "and it would have been funny if Carp had busted him one on the chin." This seemed to him an extraordinary humorous conceit and he kept chuckling over it every now and then. While he was in this good humor somebody sounded him out as to what he would do if he lost; or rather the comment was made that an old time fighter, once a champion, was now coming back to the ring and had declared that he was as good as he ever was.

"Why shouldn't he?" said Dempsey just a little sharply. "Nobody wants to see a man that says he isn't as good as he used to be."

"Would you say that?" he was asked.

"Well," said Dempsey, and this time he reflected a little, "it would all depend on how I was fixed. If I needed the money I would. I'd use all the old alibis."

We liked that frankness and we liked Dempsey again when somebody wanted to know how he could possibly say anything in the ring during the fight to "get the goat of Carpentier." "We ain't nearly well enough acquainted for that," said Dempsey and we gathered that he was of the opinion that you must know a man pretty well before you can insult him. The champion is not a man to whom one would look for telling rejoinders, though he has needed them often enough in the last year and a half. Criticism has hurt him, for he is not insensitive. He is merely inarticulate. This must have been the reason which prompted some sporting writers to feel that he would come into the ring whipped and down from the fact that he had been able to make no reply to all the charges brought against him. It did not work out that way. Dempsey did have a means of expression and he used it. There is no logic in force and yet a man can exclaim "Is that so!" with his fists. Dempsey said it. If we may be allowed to stretch a point it might even be hazarded that the champion's motto is "Say it with cauliflowers."

As the Freudians have it, fighting is his "escape." Decidedly, he is a man with an inferiority complex. But for his boxing skill he would need literature badly. As it is, he does not need to read about hair-breadth escapes. He has them, such as in the second round of the fight on Boyle's Thirty Acres.

In summing up, we can only add that as yet literature has had no large effect upon the life of Jack Dempsey.

XI

SPORT FOR ART'S SAKE

For years we had been hearing about moral victories and at last we saw one. This is not intended as an excuse for the fact that we said before the fight that Carpentier would beat Dempsey. We erred with Bernard Shaw. The surprising revelation which came to us on this July afternoon was that a thing may be done well enough to make victory entirely secondary. We have all heard, of course, of sport for sport's sake but Georges Carpentier established a still more glamorous ideal. Sport for art's sake was what he showed us in the big wooden saucer over on Boyle's dirty acres.

It was the finest tragic performance in the lives of ninety thousand persons. We hope that Professor George Pierce Baker sent his class in dramatic composition. We will be disappointed if Eugene O'Neill, the white hope of the American drama, was not there. Here for once was a laboratory demonstration of life. None of the crowds in Greece who went to somewhat more beautiful stadiums in search of Euripides ever saw the spirit of tragedy more truly presented. And we will wager that Euripides was not able to lift his crowd up upon its hind legs into a concerted shout of "Medea! Medea! Medea!" as Carpentier moved the fight fans over in Jersey City in the second round. In fact it is our contention that the fight between Dempsey and Carpentier was the most inspiring spectacle which America has seen in a generation.

Personally we would go further back than that. We would not accept a ticket for David and Goliath as a substitute. We remember that in that instance the little man won, but it was a spectacle less fine in artistry from the fact that it was less true to life. The tradition that Jack goes up the beanstalk and kills his giant, and that Little Red Ridinghood has the better of the wolf, and many other stories are limited in their inspirational quality by the fact that they are not true. They are stories that man has invented to console himself on winter's evenings for the fact that he is small and the universe is large. Carpentier showed us something far more thrilling. All of us who watched him know now that man cannot beat down fate, no matter how much his will may flame, but he can rock it back upon its heels when he puts all his heart and his shoulders into a blow.

That is what happened in the second round. Carpentier landed his straight right upon Dempsey's jaw and the champion, who was edging in toward him, shot back and then swayed forward. Dempsey's hands dropped to his side. He was an open target. Carpentier swung a terrific right hand uppercut and missed. Dempsey fell into a clinch and held on until his head cleared. He kept close to Carpentier during the rest of the fight and wore him down with body blows during the infighting. We know of course that when the first prehistoric creature crawled out of the ooze up to the beaches (see "The Outline of History" by H. G. Wells, some place in the first volume, just a couple of pages after that picture of the big lizard) it was already settled that Carpentier was going to miss that uppercut. And naturally it was inevitable that he should have the worst of it at infighting. Fate gets us all in the clinches, but Eugene O'Neill and all our young writers of tragedy make a great mistake if they think that the poignancy of the fate of man lies in the fact that he is weak, pitiful and helpless. The tragedy of life is not that man loses but that he almost wins. Or, if you are intent on pointing out that his downfall is inevitable, that at least he completes the gesture of being on the eve of victory.

For just eleven seconds on the afternoon of July 2 we felt that we were at the threshold of a miracle. There was such flash and power in the right hand thrust of Carpentier's that we believed Dempsey would go down, and that fate would go with him and all the plans laid out in the days of the oozy friends of Mr. Wells. No sooner were the men in the ring together than it seemed just as certain that Dempsey would win as that the sun would come up on the morning of July 3. By and by we were not so sure about the sun. It might be down, we thought, and also out. It was included in the scope of Carpentier's punch, we feared. No, we did not exactly fear it. We respect the regularity of the universe by which we live, but we do not love it. If the blow had been as devastating as we first believed, we should have counted the world well lost.

Great circumstances produce great actors. History is largely concerned with arranging good entrances for people; and later exits not always quite so good. Carpentier played his part perfectly down to the last side. People who saw him just as he came before the crowd reported that he was pitifully nervous, drawn, haggard. It was the traditional and becoming nervousness of the actor just before a great performance. It was gone the instant Carpentier came in sight of his ninety thousand. His head was back and his eyes and his smile flamed as he crawled through the ropes. And he gave some curious flick to his bathrobe as he turned to meet the applause. Until that very moment we had been for Dempsey, but suddenly we found ourself up on our feet making silly noises. We shouted "Carpentier! Carpentier! Carpentier!" and forgot even to be ashamed of our pronunciation. He held his hands up over his head and turned until the whole arena, including the five-dollar seats, had come within the scope of his smile.