FullReads

rendered by a soprano, a contralto, a bass, and a baritone, each with the full effect of its quality and the personal equation besides, I was quite ready to admit that selecting phonographed books for one’s library was as much more difficult as it was incomparably more fascinating than suiting one’s self with printed editions. Indeed, Hamage admitted that nowadays nobody with any taste for literature–if the word may for convenience be retained–thought of contenting himself with less than half a dozen renderings of the great poets and dramatists. “By the way,” he said to the clerk, “won’t you just let my friend try the Booth-Barrett Company’s ‘Othello’? It is, you understand,” he added to me, “the exact phonographic reproduction of the play as actually rendered by the company.”

Upon his suggestion, the attendant had taken down a phonograph case and placed it on the counter. The front was an imitation of a theatre with the curtain down. As I placed the transmitter to my ears, the clerk touched a spring and the curtain rolled up, displaying a perfect picture of the stage in the opening scene. Simultaneously the action of the play began, as if the pictured men upon the stage were talking. Here was no question of losing half that was said and guessing the rest. Not a word, not a syllable, not a whispered aside of the actors, was lost; and as the play proceeded the pictures changed, showing every important change of attitude on the part of the actors. Of course the figures, being pictures, did not move, but their presentation in so many successive attitudes presented the effect of movement, and made it quite possible to imagine that the voices in my ears were really theirs. I am exceedingly fond of the drama, but the amount of effort and physical inconvenience necessary to witness a play has rendered my indulgence in this pleasure infrequent. Others might not have agreed with me, but I confess that none of the ingenious applications of the phonograph which I had seen seemed to be so well worth while as this.

Hamage had left me to make his purchases, and found me on his return still sitting spellbound.

“Come, come,” he said, laughing, “I have Shakespeare complete at home, and you shall sit up all night, if you choose, hearing plays. But come along now, I want to take you upstairs before we go.”

He had several bundles. One, he told me, was a new novel for his wife, with some fairy stories for the children,–all, of course, phonographs. Besides, he had bought an indispensable for his little boy.

“There is no class,” he said, “whose burdens the phonograph has done so much to lighten as parents. Mothers no longer have to make themselves hoarse telling the children stories on rainy days to keep them out of mischief. It is only necessary to plant the most roguish lad before a phonograph of some nursery classic, to be sure of his whereabouts and his behavior till the machine runs down, when another set of cylinders can be introduced, and the entertainment carried on. As for the babies, Patti sings mine to sleep at bedtime, and, if they wake up in the night, she is never too drowsy to do it over again. When the children grow too big to be longer tied to their mother’s apron-strings, they still remain, thanks to the children’s indispensable, though out of her sight, within sound of her voice. Whatever charges or instructions she desires them not to forget, whatever hours or duties she would have them be sure to remember, she depends on the indispensable to remind them of.”

At this I cried out. “It is all very well for the mothers,” I said, “but the lot of the orphan must seem enviable to a boy compelled to wear about such an instrument of his own subjugation. If boys were what they were in my day, the rate at which their indispensables would get unaccountably lost or broken would be alarming.”