Nat Goodwin's Book

I shall endeavor to answer that query so frequently put to me by the newspapers, not from any sense of obligation but simply in the spirit of anecdote.

Time and again impertinent printed remarks have been made about my plunging into matrimony and there have appeared flaming headlines such as, "Bluebeard Goodwin Anticipates a Marriage" (or divorce!), "Red Headed Nat Contemplates Matrimony!" etc.

These polite and complimentary references in the yellow journals appear as a rule annually. Generally they occupy half a page and are illustrated with pictures of the poor misguided creatures who had the misfortune to bear my name with my photograph stuck up in one corner (with a countenance suggesting more the physiognomy of a Bill Sykes than a Romeo!). Then some extremely clever reviewer of prize fights comes forth with this headline: —

"Why do Beautiful Women Shake Nat Goodwin?"

The scoffers, the envious, who know nothing about me except the fact that I have furnished paragraphers much material anent my "matrimonial forays," are inclined to credit my succession of beautiful wives for any success that I have attained. Matrimony may and often does breed notoriety and an actor's record may excite comment upon its endurance, but neither personal antics nor long service ever won a man genuine fame.

Is it a crime to be respectable? Is it a crime to have an honest fireside?

I never stole any of my wives, neither were they ever forced into matrimony – with me.

My friends who have been privileged to visit any home of mine will tell you that it was the abode of a lady and gentleman!

This will jar my vilifiers. I have no right to be respectable and have a home. I am a brawler and a reveler, a drunkard and a gambler. Maybe. Yet with all these alleged vagaries I fail to remember any time when I dined a mistress at the same table with my wife and children – an incident in the career of a most conspicuous member of our profession who has the reputation of being possessed of supreme chastity. He prefers marshmallows to champagne – stick licorice to Havana cigars. He married at the beginning of his career and is quite content to stand pat – with his head in the sand.

I have often wondered if these self-elected critics of my actions would have refused any of the women whom I have had the privilege of marrying!

Does it ever occur to them that a woman must first be interested in a man (in some little degree!) before allowing him the privilege of taking her hand in marriage? If she has a brain she understands his motives and even if moved by other reasons than that of affection it is still she who decides to meet the issue.

The women who married me had the reputation of being possessed of brain as well as beauty and all of them had tasted the sweets of matrimony before I came along. I wonder what these ebony-tipped-fingered gentlemen who have marvelled at my success in the matrimonial field would say if they were privileged to glance at my visitors' book in use at Jackwood or in my West End Avenue home in New York! It would convince them that they never could have passed the butler!

It has never been chronicled that the heads of the theatrical profession were my constant visitors. Statesmen, diplomats, lawyers, conspicuous public men from abroad, multi-millionaires (not forgetting one President) and some of the nobility have graced my board. This may have been the reason why one of the beautiful women married me!

Fancy any of my critics writing that Lord – had visited me, Senator – dined with me, Marchioness – accompanied me on a hunting trip! That would not be news – it's too clean! But they do cable to the remotest corner of the globe my presence at a prize fight. That is interesting matter – and news! How considerate of the feelings of one's aged parents who are forced to bear the brunt of their unwholesome lies! How I loathe these mephitic hounds who burglarize men's firesides, the pestilential pirates of women's homes who invade the sanctity of loving hearts, who write with pens steeped in venom!

Chapter LX

BILLY THOMPSON

What a splendid player is William H. Thompson – Bill as he is known to his friends!

I have known him for over thirty years and have admired him in many rôles. An artist to his finger tips, he is obliged by existing conditions to fritter away his time in vaudeville instead of heading his own company or occupying a theatre as the bright particular star.

While the Favershams, Millers and Skinners are starring through the country at the head of their own companies this grand artist is compelled to stifle his ambitions in playhouses which feature performing elephants, negroes and monkeys!

He tells me he is acting now only to gather enough shekels to make his passing down the other side of the mountain of life be unincumbered by financial difficulties. This is a sad situation – an actor willing and capable forced to humiliate himself while ignorant German comedians, song and dance men and incompetent leading men foster their wares before a vacillating public.

Well, perhaps things may change, but I fear not in dear Bill's day. The moving pictures reign supreme! Pantomime seems to gratify the multitude!

Let the incense burn low and as it disappears let memories of the work of a master like Thompson cast its shadow on the pathway of the time to come!

Chapter LXI

THE CRITICS

Praise is the best diet after all."

In an address before the National Press Club on November 17, 1909, the Hon. Henry Watterson had this to say:

"Pretending to be the especial defenders of liberty we are becoming the invaders of private rights. No household seems any longer safe against intrusion. Our reporters are being turned into detectives. As surely as this is not checked, we shall grow to be the objects of fear and hatred, instead of trust and respect."

"Shall grow!" As if you have not already grown, decayed and gone to seed, once more to be transplanted and again born, to invade the sanctity of homes and become the invaders of private rights! "Detectives" indeed! As a rule you are not even common cops!

No wonder public men look upon such "journalists" with aversion and contempt and liken them to the police and the scavenger! No wonder honest journalists, like Watterson, antagonize such methods as are employed by the emissaries who represent the yellow journalism of our delightfully free country!

Very often after reading one of the vilifying attacks made upon me (for no apparent reason other than to vent the writer's spleen or for lack of other material) I have wondered what effect it has had upon my associates, my audiences and my friends. It is wonderful how little the power of will asserts itself. Falsehood and scandal seldom concern any except those personally negligent. It is a pity that a critic who has so much power to do good and make happy the artist by a few kind words will use the weapon of the wood chopper. Fortunately you cannot make or unmake the artist of to-day. You may flaunt your accusations regarding his private life, but after all the good remains.

I honestly believe that a true American man or woman derives more pleasure from reading an account of the happy marriage of Ethel Barrymore and the delightful coming of her first born than from the lurid announcement that Mary Mannering has at last secured her permanent release from the bonds of her unhappy alliance with James K. Hackett. It has taken me many years to come to this conclusion, and it was only after two years passed in silent retrospect among the flowers, hand in hand with nature in glorious California, that I determined to don again the sock and buskin. But I went back to my professional work with a clearer conscience, a lighter heart, a determination to pay little heed to the scoffers and a resolve to try to make the world laugh once more.

He who rises above mediocrity is sure to incur the envy and hatred of the mediocre. I am astounded that I among so many should be selected as a perpetual target. Were I as egotistical as some of my critics say, the published reports of my vagaries and dissipations would have been as Balm in Gilead to my immoral soul! But such balm is far from any desire of mine. The unwholesome notoriety that I received during my absence in Australia shocked and grieved me and had it not been for the few good friends who gallantly came to my assistance with cheery words of encouragement my burden would have been too heavy to bear.

With the greatest indignation I read the truly astonishing articles written about me during my exile. Away from home as we had been for months and always looking forward eagerly to the arrival of the American mail, it was a shock indeed to be deluged with highly sensational accounts of my divorce suit, a shock all the more disagreeable for the wholly unwarrantable dragging in of the name of one as completely ignorant of the entire matter as any one of you who may read this.

For years I have been brutally assailed by certain members of our press who have disliked the color of my hair or the shape of my nose. As I alone have been the victim of these assaults, I have not wearied the public with constant denials, realizing the futility of the "apology" our great dailies vouchsafe when they are proven to be in the wrong. This generous "apology" may be found in an obscure corner of the paper, in very small print, weeks after columns and columns have spicily set forth the details of one's supposed wrong doings. And this is all we get by way of reparation from our traducers.

Here is the article, written by the Hon. Henry Watterson in the Louisville "Courier Journal," January 10, 1895, to which I have referred:

"In the course of an interview with one of our local contemporaries Mr. Nat C. Goodwin, the eminent comedian, takes occasion to correct some recent stories circulated to his disadvantage and to protest against that species of journalism which seeks to enrich itself by the heedless sacrifice of private character.

"Since no one has suffered more in this regard than Mr. Goodwin himself he has certainly the right to speak in his own behalf and at the same time he has a claim upon the consideration of a public which owes so great a debt to his genius. As a matter of fact, however, Mr. Goodwin is just beginning to realize the seriousness of life and the importance of his own relation to the art of which he has long been an unconscious master.

"With an exuberance of talent rivaled only by his buoyancy of spirit, uniting to extraordinary conversational resources a personal charm unequaled on or off the stage, he has scattered his benefactions of all kinds with a lavish disregard of consequences and that disdain for appearances which emanates, in his case, from a frank nature, incapable of intentional wrong and unconscious of giving cause for evil report.

"He is still a very young man, but he has been and is a great, over-grown boy; fearless and loyal; as open as the day; enjoying the abundance which nature gave him at his birth, which his professional duties have created so profusely around about him and seeking to have others enjoy it with him. But, before all else, it ought to be known by the public that he amply provides for those having the best claim upon his bounty; that he is not merely one of the most generous of friends, but one of the most devoted of sons, and that it can be truly said that no one ever suffered through any act of his.

"To a man of so many gifts and such real merits the press and the public might be more indulgent even if Mr. Goodwin were as erratic as it is sometimes said he is. But he is not so in the sense sought to be ascribed to him. He never could have reached the results, which each season we see re-enforced by new creations, except at the cost of infinite painstaking, conscientious toil; for, exquisite and apparently spontaneous as his art is, he is pre-eminently an intellectual actor and it is preposterous to suppose that he has not been a thoughtful, laborious student, finding his relief in moments of relaxation, which may too often have lapsed into unguarded gayety, but which never degenerated into vulgarity or wantonness. Indeed the warp and woof of Mr. Goodwin's character are wholly serious.

"He is a most unaffected, affectionate man and with the recognition which the world is giving him as the foremost comedian of his time, the inevitable and natural successor to the great Jefferson, it is safe to predict that he will fall into his place with the ready grace that sits upon all he says and does.

"Meanwhile the boys in the City Editor's Room ought to use more blue and less red in pencilling the coming and going of one so brilliant and so gentle and, in all that they have a right to take note of, so unoffending."

God bless you, Marse Henry!

The avidity with which the average penny-a-liners scent failure is only equaled by the blatant exposition of their reviews. They are like a lot of sheep huddled together, vainly endeavoring to emerge from the perfume of their own manure to flaunt their individual opinions before the garrulous public which itself is only too willing to proclaim "the king is dead!"

Senator Arthur Pugh Gorman once told me that failures were a good remedy for success and brought people to a realization of their own unimportance. Granted, if failure were individual, but as failure does not as a rule affect only one's self it is hard to administer the doses of the plural to mitigate the humiliation of the singular.

Has it ever occurred to the average critic that when a play fails not only the author and the leading artist are submerged in the vortex of despair, but all the tributaries of the enterprise go down with the ship? But what do they care – when many of the successful actors proclaim to the world that they enjoy their "art" – succeeding or failing! – and respect the reviewers of their work? I regret that many of them are only too willing to assist the critics in tearing down the structure of the successful player.

Some time ago I had a long talk with a comedian, short and very funny, on and off the stage. He is a true artist, a wit, gentle in his methods and a truly legitimate comedian. He was complaining of the existing conditions of the stage and assured me that it was only the lack of funds which compelled him to remain upon the boards to make the public laugh; that he was praying for the time when he could forget his gifts and leave the stage forever.

The little chap has worked like a galley slave for years. I know of one period in his career when he produced three consecutive failures in an equal number of weeks in a New York theatre; produced them and incurred all the risks – and finally landed the fourth a winner. He is constantly producing new material and to-day a New York playhouse displays an electric sign which spells his name. Yet he desires to leave the stage forever! Of course, he does! What honest actor does not?

Another artist, a friend of mine who has played to the largest receipts ever known in the history of the stage, told me recently that he was going to give it up, imparting to me the fact that he could no longer stand the humiliation and the heartaches he was forced to endure!

The attitude of these gifted players is as an oasis in the desert of incompetency and convinces me that irrespective of the type that spells inadequacy and commercial success for a few of the ephemeral stars there are some self-respecting actors left who refuse to accompany these unworthy disciples down the narrow path that must lead to an eventual eclipse.