It was after ten o'clock when Riley and Bok got back to the house with their load of provisions to find every door locked, every curtain drawn, and the bolt sprung on every window. Only the cellar grating remained, and through this the two dropped their bundles and themselves, and appeared in the dining-room, dirty and dishevelled, to find the party at table enjoying a supper which Field had carefully hidden and brought out when they had left the house.

Riley, cold and hungry, and before this time the victim of Field's practical jokes, was not in a merry humor and began to recite paraphrases of Field's poems. Field retorted by paraphrasing Riley's poems, and mimicking the marked characteristics of Riley's speech. This started Sol Smith Russell, who mimicked both. The fun grew fast and furious, the entire company now took part, Mrs. Field's dresses were laid under contribution, and Field, Russell, and Riley gave an impromptu play. And it was upon this scene that Mrs. Field, after a continuous ringing of the door-bell and nearly battering down the door, appeared at seven o'clock the next morning!

It was fortunate that Eugene Field had a patient wife; she needed every ounce of patience that she could command. And no one realized this more keenly than did her husband. He once told of a dream he had which illustrated the endurance of his wife.

"I thought," said Field, "that I had died and gone to heaven. I had some difficulty in getting past St. Peter, who regarded me with doubt and suspicion, and examined my records closely, but finally permitted me to enter the pearly gates. As I walked up the street of the heavenly city, I saw a venerable old man with long gray hair and flowing beard. His benignant face encouraged me to address him. 'I have just arrived and I am entirely unacquainted,' I said. 'May I ask your name?'

"'My name,' he replied, 'is Job.'

"'Indeed,' I exclaimed, 'are you that Job whom we were taught to revere as the most patient being in the world?'

"'The same,' he said, with a shadow of hesitation; 'I did have quite a reputation for patience once, but I hear that there is a woman now on earth, in Chicago, who has suffered more than I ever did, and she has endured it with great resignation.'

"'Why,' said I, 'that is curious. I am just from earth, and from Chicago, and I do not remember to have heard of her case. What is her name?'

"'Mrs. Eugene Field,' was the reply.

"Just then I awoke," ended Field.

The success of Field's paragraph engaging Bok to Miss Pinkham stimulated the poet to greater effort. Bok had gone to Europe; Field, having found out the date of his probable return, just about when the steamer was due, printed an interview with the editor "at quarantine" which sounded so plausible that even the men in Bok's office in Philadelphia were fooled and prepared for his arrival. The interview recounted, in detail, the changes in women's fashions in Paris, and so plausible had Field made it, based upon information obtained at Marshall Field's, that even the fashion papers copied it.

All this delighted Field beyond measure. Bok begged him to desist; but Field answered by printing an item to the effect that there was the highest authority for denying "the reports industriously circulated some time ago to the effect that Mr. Bok was engaged to be married to a New England young lady, whereas, as a matter of fact, it is no violation of friendly confidence that makes it possible to announce that the Philadelphia editor is engaged to Mrs. Frank Leslie, of New York."

It so happened that Field put this new paragraph on the wire just about the time that Bok's actual engagement was announced. Field was now deeply contrite, and sincerely promised Bok and his fiancee to reform. "I'm through, you mooning, spooning calf, you," he wrote Bok, and his friend believed him, only to receive a telegram the next day from Mrs. Field warning him that "Gene is planning a series of telephonic conversations with you and Miss Curtis at college that I think should not be printed." Bok knew it was of no use trying to curb Field's industry, and so he wired the editor of the Chicago News for his cooperation. Field, now checked, asked Bok and his fiancee and the parents of both to come to Chicago, be his guests for the World's Fair, and "let me make amends."

It was a happy visit. Field was all kindness, and, of course, the entire party was charmed by his personality. But the boy in him could not be repressed. He had kept it down all through the visit. "No, not a joke-cross my heart," he would say, and then he invited the party to lunch with him on their way to the train when they were leaving for home. "But we shall be in our travelling clothes, not dressed for a luncheon," protested the women. It was an unfortunate protest, for it gave Field an idea! "Oh," he assured them, "just a goodbye luncheon at the club; just you folks and Julia and me." They believed him, only to find upon their arrival at the club an assembly of over sixty guests at one of the most elaborate luncheons ever served in Chicago, with each woman guest carefully enjoined by Field, in his invitation, to "put on her prettiest and most elaborate costume in order to dress up the table!"

One day Field came to Philadelphia to give a reading in Camden in conjunction with George W. Cable. It chanced that his friend, Francis Wilson, was opening that same evening in Philadelphia in a new comic opera which Field had not seen. He immediately refused to give his reading, and insisted upon going to the theatre. The combined efforts of his manager, Wilson, Mr. Cable, and his friends finally persuaded him to keep his engagement and join in a double-box party later at the theatre. To make sure that he would keep his lecture appointment, Bok decided to go to Camden with him. Field and Cable were to appear alternately.

Field went on for his first number; and when he came off, he turned to Bok and said: "No use, Bok, I'm a sick man. I must go home. Cable can see this through," and despite every protestation Field bundled himself into his overcoat and made for his carriage. "Sick, Bok, really sick," he muttered as they rode along. Then seeing a fruit-stand he said: "Buy me a bag of oranges, like a good fellow. They'll do me good.

When Philadelphia was reached, he suggested: "Do you know I think it would do me good to go and see Frank in the new play? Tell the driver to go to the theatre like a good boy." Of course, that had been his intent all along! When the theatre was reached he insisted upon taking the oranges with him. "They'll steal 'em if you leave 'em there," he said.

Field lost all traces of his supposed illness the moment he reached the box. Francis Wilson was on the stage with Marie Jansen. "Isn't it beautiful?" said Field, and directing the attention of the party to the players, he reached under his chair for the bag of oranges, took one out, and was about to throw it at Wilson when Bok caught his arm, took the orange away from him, and grabbed the bag. Field never forgave Bok for this act of watchfulness. "Treason," he hissed—"going back on a friend."

The one object of Field's ambition was to achieve the distinction of so "fussing" Francis Wilson that he would be compelled to ring down the curtain. He had tried every conceivable trick: had walked on the stage in one of Wilson's scenes; had started a quarrel with an usher in the audience—everything that ingenuity could conceive he had practised on his friend. Bok had known this penchant of Field's, and when he insisted on taking the bag of oranges into the theatre, Field's purpose was evident!

One day Bok received a wire from Field: "City of New Orleans purposing give me largest public reception on sixth ever given an author. Event of unusual quality. Mayor and city officials peculiarly desirous of having you introduce me to vast audience they propose to have. Hate to ask you to travel so far, but would be great favor to me. Wire answer." Bok wired back his willingness to travel to New Orleans and oblige his friend. It occurred to Bok, however, to write to a friend in New Orleans and ask the particulars. Of course, there was never any thought of Field going to New Orleans or of any reception. Bok waited for further advices, and a long letter followed from Field giving him a glowing picture of the reception planned. Bok sent a message to his New Orleans friend to be telegraphed from New Orleans on the sixth: "Find whole thing to be a fake. Nice job to put over on me. Bok." Field was overjoyed at the apparent success of his joke and gleefully told his Chicago friends all about it—until he found out that the joke had been on him. "Durned dirty, I call it," he wrote Bok.

It was a lively friendship that Eugene Field gave to Edward Bok, full of anxieties and of continuous forebodings, but it was worth all that it cost in mental perturbation. No rarer friend ever lived: in his serious moments he gave one a quality of unforgetable friendship that remains a precious memory. But his desire for practical jokes was uncontrollable: it meant being constantly on one's guard, and even then the pranks could not always be thwarted!



XVIII. Building Up a Magazine

The newspaper paragraphers were now having a delightful time with Edward Bok and his woman's magazine, and he was having a delightful time with them. The editor's publicity sense made him realize how valuable for his purposes was all this free advertising. The paragraphers believed, in their hearts, that they were annoying the young editor; they tried to draw his fire through their articles. But he kept quiet, put his tongue in his cheek, and determined to give them some choice morsels for their wit.

He conceived the idea of making familiar to the public the women who were back of the successful men of the day. He felt sure that his readers wanted to know about these women. But to attract his newspaper friends he labelled the series, "Unknown Wives of Well-Known Men" and "Clever Daughters of Clever Men."

The alliterative titles at once attracted the paragraphers; they fell upon them like hungry trout, and a perfect fusillade of paragraphs began. This is exactly what the editor wanted; and he followed these two series immediately by inducing the daughter of Charles Dickens to write of "My Father as I Knew Him," and Mrs. Henry Ward Beecher, of "Mr. Beecher as I Knew Him." Bok now felt that he had given the newspapers enough ammunition to last for some time; and he turned his attention to building up a more permanent basis for his magazine.

The two authors of that day who commanded more attention than any others were William Dean Howells and Rudyard Kipling. Bok knew that these two would give to his magazine the literary quality that it needed, and so he laid them both under contribution. He bought Mr. Howells's new novel, "The Coast of Bohemia," and arranged that Kipling's new novelette upon which he was working should come to the magazine. Neither the public nor the magazine editors had expected Bok to break out along these more permanent lines, and magazine publishers began to realize that a new competitor had sprung up in Philadelphia. Bok knew they would feel this; so before he announced Mr. Howells's new novel, he contracted with the novelist to follow this with his autobiography. This surprised the editors of the older magazines, for they realized that the Philadelphia editor had completely tied up the leading novelist of the day for his next two years' output.

Meanwhile, in order that the newspapers might be well supplied with barbs for their shafts, he published an entire number of his magazine written by famous daughters of famous men. This unique issue presented contributions by the daughters of Charles Dickens, Nathaniel Hawthorne, President Harrison, Horace Greeley, William M. Thackeray, William Dean Howells, General Sherman, Julia Ward Howe, Jefferson Davis, Mr. Gladstone, and a score of others. This issue simply filled the paragraphers with glee. Then once more Bok turned to material calculated to cement the foundation for a more permanent structure.

He noted, early in its progress, the gathering strength of the drift toward woman suffrage, and realized that the American woman was not prepared, in her knowledge of her country, to exercise the privilege of the ballot. Bok determined to supply the deficiency to his readers, and concluded to put under contract the President of the United States, Benjamin Harrison, the moment he left office, to write a series of articles explaining the United States. No man knew this subject better than the President; none could write better; and none would attract such general attention to his magazine, reasoned Bok. He sought the President, talked it over with him, and found him favorable to the idea. But the President was in doubt at that time whether he would be a candidate for another term, and frankly told Bok that he would be taking too much risk to wait for him. He suggested that the editor try to prevail upon his then secretary of state, James G. Blaine, to undertake the series, and offered to see Mr. Blaine and induce him to a favorable consideration. Bok acquiesced, and a few days afterward received from Mr. Blaine a request to come to Washington.

Bok had had a previous experience with Mr. Blaine which had impressed him to an unusual degree. Many years before, he had called upon him at his hotel in New York, seeking his autograph, had been received, and as the statesman was writing his signature he said: "Your name is a familiar one to me. I have had correspondence with an Edward Bok who is secretary of state for the Transvaal Republic. Are you related to him?"

Bok explained that this was his uncle, and that he was named for him.

Years afterward Bok happened to be at a public meeting where Mr. Blaine was speaking, and the statesman, seeing him, immediately called him by name. Bok knew of the reputed marvels of Mr. Blaine's memory, but this proof of it amazed him.

"It is simply inconceivable, Mr. Blaine," said Bok, "that you should remember my name after all these years."

"Not at all, my boy," returned Mr. Blaine. "Memorizing is simply association. You associate a fact or an incident with a name and you remember the name. It never leaves you. The moment I saw you I remembered you told me that your uncle was secretary of state for the Transvaal. That at once brought your name to me. You see how simple a trick it is."

But Bok did not see, since remembering the incident was to him an even greater feat of memory than recalling the name. It was a case of having to remember two things instead of one.

At all events, Bok was no stranger to James G. Blaine when he called upon him at his Lafayette Place home in Washington.

"You've gone ahead in the world some since I last saw you," was the statesman's greeting. "It seems to go with the name."

This naturally broke the ice for the editor at once.

"Let's go to my library where we can talk quietly. What train are you making back to Philadelphia, by the way?"

"The four, if I can," replied Bok.

"Excuse me a moment," returned Mr. Blaine, and when he came back to the room, he said: "Now let's talk over this interesting proposition that the President has told me about."

The two discussed the matter and completed arrangements whereby Mr. Blaine was to undertake the work. Toward the latter end of the talk, Bok had covertly—as he thought—looked at his watch to keep track of his train.

"It's all right about that train," came from Mr. Blaine, with his back toward Bok, writing some data of the talk at his desk. "You'll make it all right."

Bok wondered how he should, as it then lacked only seventeen minutes of four. But as Mr. Blaine reached the front door, he said to the editor: "My carriage is waiting at the curb to take you to the station, and the coachman has your seat in the parlor car."

And with this knightly courtesy, Mr. Blaine shook hands with Bok, who was never again to see him, nor was the contract ever to be fulfilled. For early in 1893 Mr. Blaine passed away without having begun the work.

Again Bok turned to the President, and explained to him that, for some reason or other, the way seemed to point to him to write the articles himself. By that time President Harrison had decided that he would not succeed himself. Accordingly he entered into an agreement with the editor to begin to write the articles immediately upon his retirement from office. And the day after Inauguration Day every newspaper contained an Associated Press despatch announcing the former President's contract with The Ladies' Home Journal.

Shortly afterward, Benjamin Harrison's articles on "This Country of Ours" successfully appeared in the magazine.

During Bok's negotiations with President Harrison in connection with his series of articles, he was called to the White House for a conference. It was midsummer. Mrs. Harrison was away at the seashore, and the President was taking advantage of her absence by working far into the night.

The President, his secretary, and Bok sat down to dinner.

The Marine Band was giving its weekly concert on the green, and after dinner the President suggested that Bok and he adjourn to the "back lot" and enjoy the music.

"You have a coat?" asked the President.

"No, thank you," Bok answered. "I don't need one."

"Not in other places, perhaps," he said, "but here you do. The dampness comes up from the Potomac at nightfall, and it's just as well to be careful. It's Mrs. Harrison's dictum," he added smiling. "Halford, send up for one of my light coats, will you, please?"

Bok remarked, as he put on the President's coat, that this was probably about as near as he should ever get to the presidency.

"Well, it's a question whether you want to get nearer to it," answered the President. He looked very white and tired in the moonlight.

"Still," Bok said with a smile, "some folks seem to like it well enough to wish to get it a second time."

"True," he answered, "but that's what pride will do for a man. Try one of these cigars."

A cigar! Bok had been taking his tobacco in smaller doses with paper around them. He had never smoked a cigar. Still, one cannot very well refuse a presidential cigar!

"Thank you," Bok said as he took one from the President's case. He looked at the cigar and remembered all he had read of Benjamin Harrison's black cigars. This one was black—inky black—and big.

"Allow me," he heard the President suddenly say, as he handed him a blazing match. There was no escape. The aroma was delicious, but—Two or three whiffs of that cigar, and Bok decided the best thing to do was to let it go out. He did.

"I have allowed you to talk so much," said the President after a while, "that you haven't had a chance to smoke. Allow me," and another match crackled into flame.

"Thank you," the editor said, as once more he lighted the cigar, and the fumes went clear up into the farthest corner of his brain.

"Take a fresh cigar," said the President after a while. "That doesn't seem to burn well. You will get one like that once in a while, although I am careful about my cigars."

"No, thanks, Mr. President," Bok said hurriedly. "It's I, not the cigar."

"Well, prove it to me with another," was the quick rejoinder, as he held out his case, and in another minute a match again crackled. "There is only one thing worse than a bad smoke, and that is an office-seeker," chuckled the President.

Bok couldn't prove that the cigars were bad, naturally. So smoke that cigar he did, to the bitter end, and it was bitter! In fifteen minutes his head and stomach were each whirling around, and no more welcome words had Bok ever heard than when the President said: "Well, suppose we go in. Halford and I have a day's work ahead of us yet."

The President went to work.

Bok went to bed. He could not get there quick enough, and he didn't—that is, not before he had experienced that same sensation of which Oliver Wendell Holmes wrote: he never could understand, he said, why young authors found so much trouble in getting into the magazines, for his first trip to Europe was not a day old before, without even the slightest desire or wish on his part, he became a contributor to the Atlantic!

The next day, and for days after, Bok smelled, tasted, and felt that presidential cigar!

A few weeks afterward, Bok was talking after dinner with the President at a hotel in New York, when once more the cigar-case came out and was handed to Bok.

"No, thank you, Mr. President," was the instant reply, as visions of his night in the White House came back to him. "I am like the man from the West who was willing to try anything once."

And he told the President the story of the White House cigar.

The editor decided to follow General Harrison's discussion of American affairs by giving his readers a glimpse of foreign politics, and he fixed upon Mr. Gladstone as the one figure abroad to write for him. He sailed for England, visited Hawarden Castle, and proposed to Mr. Gladstone that he should write a series of twelve autobiographical articles which later could be expanded into a book.

Bok offered fifteen thousand dollars for the twelve articles—a goodly price in those days—and he saw that the idea and the terms attracted the English statesman. But he also saw that the statesman was not quite ready. He decided, therefore, to leave the matter with him, and keep the avenue of approach favorably open by inducing Mrs. Gladstone to write for him. Bok knew that Mrs. Gladstone had helped her husband in his literary work, that she was a woman who had lived a full-rounded life, and after a day's visit and persuasion, with Mr. Gladstone as an amused looker-on, the editor closed a contract with Mrs. Gladstone for a series of reminiscent articles "From a Mother's Life."

Some time after Bok had sent the check to Mrs. Gladstone, he received a letter from Mr. Gladstone expressing the opinion that his wife must have written with a golden pen, considering the size of the honorarium. "But," he added, "she is so impressed with this as the first money she has ever earned by her pen that she is reluctant to part with the check. The result is that she has not offered it for deposit, and has decided to frame it. Considering the condition of our exchequer, I have tried to explain to her, and so have my son and daughter, that if she were to present the check for payment and allow it to pass through the bank, the check would come back to you and that I am sure your company would return it to her as a souvenir of the momentous occasion. Our arguments are of no avail, however, and it occurred to me that an assurance from you might make the check more useful than it is at present!"

Bok saw with this disposition that, as he had hoped, the avenue of favorable approach to Mr. Gladstone had been kept open. The next summer Bok again visited Hawarden, where he found the statesman absorbed in writing a life of Bishop Butler, from which it was difficult for him to turn away. He explained that it would take at least a year or two to finish this work. Bok saw, of course, his advantage, and closed a contract with the English statesman whereby he was to write the twelve autobiographical articles immediately upon his completion of the work then under his hand.

Here again, however, as in the case of Mr. Blaine, the contract was never fulfilled, for Mr. Gladstone passed away before he could free his mind and begin on the work.

The vicissitudes of an editor's life were certainly beginning to demonstrate themselves to Edward Bok.

The material that the editor was publishing and the authors that he was laying under contribution began to have marked effect upon the circulation of the magazine, and it was not long before the original figures were doubled, an edition—enormous for that day—of seven hundred and fifty thousand copies was printed and sold each month, the magical figure of a million was in sight, and the periodical was rapidly taking its place as one of the largest successes of the day.

Mr. Curtis's single proprietorship of the magazine had been changed into a corporation called The Curtis Publishing Company, with a capital of five hundred thousand dollars, with Mr. Curtis as president, and Bok as vice-president.

The magazine had by no means an easy road to travel financially. The doubling of the subscription price to one dollar per year had materially checked the income for the time being; the huge advertising bills, sometimes exceeding three hundred thousand dollars a year, were difficult to pay; large credit had to be obtained, and the banks were carrying a considerable quantity of Mr. Curtis's notes. But Mr. Curtis never wavered in his faith in his proposition and his editor. In the first he invested all he had and could borrow, and to the latter he gave his undivided support. The two men worked together rather as father and son—as, curiously enough, they were to be later—than as employer and employee. To Bok, the daily experience of seeing Mr. Curtis finance his proposition in sums that made the publishing world of that day gasp with sceptical astonishment was a wonderful opportunity, of which the editor took full advantage so as to learn the intricacies of a world which up to that time he had known only in a limited way.

What attracted Bok immensely to Mr. Curtis's methods was their perfect simplicity and directness. He believed absolutely in the final outcome of his proposition: where others saw mist and failure ahead, he saw clear weather and the port of success. Never did he waver: never did he deflect from his course. He knew no path save the direct one that led straight to success, and, through his eyes, he made Bok see it with equal clarity until Bok wondered why others could not see it. But they could not. Cyrus Curtis would never be able, they said, to come out from under the load he had piled up. Where they differed from Mr. Curtis was in their lack of vision: they could not see what he saw!

It has been said that Mr. Curtis banished patent-medicine advertisements from his magazine only when he could afford to do so. That is not true, as a simple incident will show. In the early days, he and Bok were opening the mail one Friday full of anxiety because the pay-roll was due that evening, and there was not enough money in the bank to meet it. From one of the letters dropped a certified check for five figures for a contract equal to five pages in the magazine. It was a welcome sight, for it meant an easy meeting of the pay-roll for that week and two succeeding weeks. But the check was from a manufacturing patent-medicine company. Without a moment's hesitation, Mr. Curtis slipped it back into the envelope, saying: "Of course, that we can't take." He returned the check, never gave the matter a second thought, and went out and borrowed more money to meet his pay-roll!

With all respect to American publishers, there are very few who could have done this—or indeed, would do it to-day, under similar conditions—particularly in that day when it was the custom for all magazines to accept patent-medicine advertising; The Ladies' Home Journal was practically the only publication of standing in the United States refusing that class of business!

Bok now saw advertising done on a large scale by a man who believed in plenty of white space surrounding the announcement in the advertisement. He paid Mr. Howells $10,000 for his autobiography, and Mr. Curtis spent $50,000 in advertising it. "It is not expense," he would explain to Bok, "it is investment. We are investing in a trade-mark. It will all come back in time." And when the first $100,000 did not come back as Mr. Curtis figured, he would send another $100,000 after it, and then both came back.

Bok's experience in advertisement writing was now to stand him in excellent stead. He wrote all the advertisements and from that day to the day of his retirement, practically every advertisement of the magazine was written by him.

Mr. Curtis believed that the editor should write the advertisements of a magazine's articles. "You are the one who knows them, what is in them and your purpose," he said to Bok, who keenly enjoyed this advertisement writing. He put less and less in his advertisements. Mr. Curtis made them larger and larger in the space which they occupied in the media used. In this way The Ladies' Home Journal advertisements became distinctive for their use of white space, and as the advertising world began to say: "You can't miss them." Only one feature was advertised at one time, but the "feature" was always carefully selected for its wide popular appeal, and then Mr. Curtis spared no expense to advertise it abundantly. As much as $400,000 was spent in one year in advertising only a few features—a gigantic sum in those days, approached by no other periodical. But Mr. Curtis believed in showing the advertising world that he was willing to take his own medicine.

Naturally, such a campaign of publicity announcing the most popular attractions offered by any magazine of the day had but one effect: the circulation leaped forward by bounds, and the advertising columns of the magazine rapidly filled up.

The success of The Ladies' Home Journal began to look like an assured fact, even to the most sceptical.

As a matter of fact, it was only at its beginning, as both publisher and editor knew. But they desired to fill the particular field of the magazine so quickly and fully that there would be small room for competition. The woman's magazine field was to belong to them!



XIX. Personality Letters

Edward Bok was always interested in the manner in which personality was expressed in letters. For this reason he adopted, as a boy, the method of collecting not mere autographs, but letters characteristic of their writers which should give interesting insight into the most famous men and women of the day. He secured what were really personality letters.

One of these writers was Mark Twain. The humorist was not kindly disposed toward autograph collectors, and the fact that in this case the collector aimed to raise the standard of the hobby did not appease him. Still, it brought forth a characteristic letter:

"I hope I shall not offend you; I shall certainly say nothing with the intention to offend you. I must explain myself, however, and I will do it as kindly as I can. What you ask me to do, I am asked to do as often as one-half dozen times a week. Three hundred letters a year! One's impulse is to freely consent, but one's time and necessary occupations will not permit it. There is no way but to decline in all cases, making no exceptions, and I wish to call your attention to a thing which has probably not occurred to you, and that is this: that no man takes pleasure in exercising his trade as a pastime. Writing is my trade, and I exercise it only when I am obliged to. You might make your request of a doctor, or a builder, or a sculptor, and there would be no impropriety in it, but if you asked either of those for a specimen of his trade, his handiwork, he would be justified in rising to a point of order. It would never be fair to ask a doctor for one of his corpses to remember him by.

"MARK TWAIN".

At another time, after an interesting talk with Mark Twain, Bok wrote an account of the interview, with the humorist's permission. Desirous that the published account should be in every respect accurate, the manuscript was forwarded to Mark Twain for his approval. This resulted in the following interesting letter:

"MY DEAR MR. BOK:

"No, no—it is like most interviews, pure twaddle, and valueless.

"For several quite plain and simple reasons, an 'interview' must, as a rule, be an absurdity. And chiefly for this reason: it is an attempt to use a boat on land, or a wagon on water, to speak figuratively. Spoken speech is one thing, written speech is quite another. Print is a proper vehicle for the latter, but it isn't for the former. The moment 'talk' is put into print you recognize that it is not what it was when you heard it; you perceive that an immense something has disappeared from it. That is its soul. You have nothing but a dead carcass left on your hands. Color, play of feature, the varying modulations of voice, the laugh, the smile, the informing inflections, everything that gave that body warmth, grace, friendliness, and charm, and commended it to your affection, or at least to your tolerance, is gone, and nothing is left, but a pallid, stiff and repulsive cadaver.

"Such is 'talk,' almost invariably, as you see it lying in state in an 'interview.' The interviewer seldom tries to tell one how a thing was said; he merely puts in the naked remark, and stops there. When one writes for print, his methods are very different. He follows forms which have but little resemblance to conversation, but they make the reader understand what the writer is trying to convey. And when the writer is making a story, and finds it necessary to report some of the talk of his characters, observe how cautiously and anxiously he goes at that risky and difficult thing:

"'If he had dared to say that thing in my presence,' said Alfred, taking a mock heroic attitude, and casting an arch glance upon the company, 'blood would have flowed.'

"'If he had dared to say that thing in my presence,' said Hawkwood, with that in his eye which caused more than one heart in that guilty assemblage to quake, 'blood would have flowed.'

"'If he had dared to say that thing in my presence,' said the paltry blusterer, with valor on his tongue and pallor on his lips, 'blood would have flowed.'

"So painfully aware is the novelist that naked talk in print conveys no meaning, that he loads, and often overloads, almost every utterance of his characters with explanations and interpretations. It is a loud confession that print is a poor vehicle for 'talk,' it is a recognition that uninterpreted talk in print would result in confusion to the reader, not instruction.

"Now, in your interview you have certainly been most accurate, you have set down the sentences I uttered as I said them. But you have not a word of explanation; what my manner was at several points is not indicated. Therefore, no reader can possibly know where I was in earnest and where I was joking; or whether I was joking altogether or in earnest altogether. Such a report of a conversation has no value. It can convey many meanings to the reader, but never the right one. To add interpretations which would convey the right meaning is a something which would require—what? An art so high and fine and difficult that no possessor of it would ever be allowed to waste it on interviews.

"No; spare the reader and spare me; leave the whole interview out; it is rubbish. I wouldn't talk in my sleep if I couldn't talk better than that.

"If you wish to print anything, print this letter; it may have some value, for it may explain to a reader here and there why it is that in interviews as a rule men seem to talk like anybody but themselves.

"Sincerely yours,

"MARK TWAIN."

The Harpers had asked Bok to write a book descriptive of his autograph-letter collection, and he had consented. The propitious moment, however, never came in his busy life. One day he mentioned the fact to Doctor Oliver Wendell Holmes and the poet said: "Let me write the introduction for it." Bok, of course, eagerly accepted, and within a few days he received the following, which, with the book, never reached publication:

"How many autograph writers have had occasion to say with the Scotch trespasser climbing his neighbor's wall, when asked where he was going Bok again!'

"Edward Bok has persevered like the widow in scripture, and the most obdurate subjects of his quest have found it for their interest to give in, lest by his continual coming he should weary them. We forgive him; almost admire him for his pertinacity; only let him have no imitators. The tax he has levied must not be imposed a second time.

"An autograph of a distinguished personage means more to an imaginative person than a prosaic looker-on dreams of. Along these lines ran the consciousness and the guiding will of Napoleon, or Washington, of Milton or Goethe.

"His breath warmed the sheet of paper which you have before you. The microscope will show you the trail of flattened particles left by the tesselated epidermis of his hand as it swept along the manuscript. Nay, if we had but the right developing fluid to flow over it, the surface of the sheet would offer you his photograph as the light pictured it at the instant of writing.

"Look at Mr. Bok's collection with such thoughts, ...and you will cease to wonder at his pertinacity and applaud the conquests of his enthusiasm.

"Oliver Wendell Holmes."

Whenever biographers of the New England school of writers have come to write of John Greenleaf Whittier, they have been puzzled as to the scanty number of letters and private papers left by the poet. This letter, written to Bok, in comment upon a report that the poet had burned all his letters, is illuminating:

"Dear Friend:

"The report concerning the burning of my letters is only true so far as this: some years ago I destroyed a large collection of letters I had received not from any regard to my own reputation, but from the fear that to leave them liable to publicity might be injurious or unpleasant to the writers or their friends. They covered much of the anti-slavery period and the War of the Rebellion, and many of them I knew were strictly private and confidential. I was not able at the time to look over the MS. and thought it safest to make a bonfire of it all. I have always regarded a private and confidential letter as sacred and its publicity in any shape a shameful breach of trust, unless authorized by the writer. I only wish my own letters to thousands of correspondents may be as carefully disposed of.

"You may use this letter as you think wise and best.

"Very truly thy friend,

"John G. Whittier."

Once in a while a bit of untold history crept into a letter sent to Bok; as for example in the letter, referred to in a previous chapter from General Jubal A. Early, the Confederate general, in which he gave an explanation, never before fully given, of his reasons for the burning of Chambersburg, Pennsylvania:

"The town of Chambersburg was burned on the same day on which the demand on it was made by McCausland and refused. It was ascertained that a force of the enemy's cavalry was approaching, and there was no time for delay. Moreover, the refusal was peremptory, and there was no reason for delay unless the demand was a mere idle threat.

"I had no knowledge of what amount of money there might be in Chambersburg. I knew that it was a town of some twelve thousand inhabitants. The town of Frederick, in Maryland, which was a much smaller town than Chambersburg, had in June very promptly responded to my demand on it for $200,000, some of the inhabitants, who were friendly to me, expressing a regret that I had not made it $500,000. There were one or more National Banks at Chambersburg, and the town ought to have been able to raise the sum I demanded. I never heard that the refusal was based on the inability to pay such a sum, and there was no offer to pay any sum. The value of the houses destroyed by Hunter, with their contents, was fully $100,000 in gold, and at the time I made the demand the price of gold in greenbacks had very nearly reached $3.00 and was going up rapidly. Hence it was that I required the $500,000 in greenbacks, if the gold was not paid, to provide against any further depreciation of the paper money.

"I would have been fully justified by the laws of retaliation in war in burning the town without giving the inhabitants the opportunity of redeeming it.

"J. A. Early."

Bok wrote to Eugene Field, once, asking him why in all his verse he had never written any love-songs, and suggesting that the story of Jacob and Rachel would have made a theme for a beautiful love-poem. Field's reply is interesting and characteristic, and throws a light on an omission in his works at which many have wondered:

"Dear Bok:

"I'll see what I can do with the suggestion as to Jacob and Rachel. Several have asked me why I have never written any love-songs. That is hard to answer. I presume it is because I married so young. I was married at twenty-three, and did not begin to write until I was twenty-nine. Most of my lullabies are, in a sense, love-songs; so is 'To a Usurper,' 'A Valentine,' 'The Little Bit of a Woman,' 'Lovers' Lane,' etc., but not the kind commonly called love-songs. I am sending you herewith my first love-song, and even into it has crept a cadence that makes it a love-song of maturity rather than of youth. I do not know that you will care to have it, but it will interest you as the first....

"Ever sincerely yours,

"Eugene Field."

During the last years of his life, Bok tried to interest Benjamin Harrison, former President of the United States, in golf, since his physician had ordered "moderate outdoor exercise." Bok offered to equip him with the necessary clubs and balls. When he received the balls, the ex-president wrote:

"Thanks. But does not a bottle of liniment go with each ball?"

When William Howard Taft became President of the United States, the impression was given out that journalists would not be so welcome at the White House as they had been during the administration of President Roosevelt. Mr. Taft, writing to Bok about another matter, asked why he had not called and talked it over while in Washington. Bok explained the impression that was current; whereupon came the answer, swift and definite!

"There are no personae non gratae at the White House. I long ago learned the waste of time in maintaining such a class."

There was in circulation during Henry Ward Beecher's lifetime a story, which is still revived every now and then, that on a hot Sunday morning in early summer, he began his sermon in Plymouth Church by declaring that "It is too damned hot to preach." Bok wrote to the great preacher, asked him the truth of this report, and received this definite denial:

"My Dear Friend:

"No, I never did begin a sermon with the remark that "it is d—d hot," etc. It is a story a hundred years old, revamped every few years to suit some new man. When I am dead and gone, it will be told to the rising generation respecting some other man, and then, as now, there will be fools who will swear that they heard it!

"Henry Ward Beecher."

When Bok's father passed away, he left, among his effects, a large number of Confederate bonds. Bok wrote to Jefferson Davis, asking if they had any value, and received this characteristic answer:

"I regret my inability to give an opinion. The theory of the Confederate Government, like that of the United States, was to separate the sword from the purse. Therefore, the Confederate States Treasury was under the control not of the Chief Executive, but of the Congress and the Secretary of the Treasury. This may explain my want of special information in regard to the Confederate States Bonds. Generally, I may state that the Confederate Government cannot have preserved a fund for the redemption of its Bonds other than the cotton subscribed by our citizens for that purpose. At the termination of the War, the United States Government, claiming to be the successor of the Confederate Government, seized all its property which could be found, both at home and abroad. I have not heard of any purpose to apply these assets to the payment of the liabilities of the Confederacy, and, therefore, have been at a loss to account for the demand which has lately been made for the Confederate Bonds.

"Jefferson Davis."

Always the soul of courtesy itself, and most obliging in granting the numerous requests which came to him for his autograph, William Dean Howells finally turned; and Bok always considered himself fortunate that the novelist announced his decision to him in the following characteristic letter:

"The requests for my autograph have of late become so burdensome that I am obliged either to refuse all or to make some sort of limitation. Every author must have an uneasy fear that his signature is 'collected' at times like postage-stamps, and at times 'traded' among the collectors for other signatures. That would not matter so much if the applicants were always able to spell his name, or were apparently acquainted with his work or interested in it.

"I propose, therefore, to give my name hereafter only to such askers as can furnish me proof by intelligent comment upon it that they have read some book of mine. If they can inclose a bookseller's certificate that they have bought the book, their case will be very much strengthened; but I do not insist upon this. In all instances a card and a stamped and directed envelope must be inclosed. I will never 'add a sentiment' except in the case of applicants who can give me proof that they have read all my books, now some thirty or forty in number.

"W. D. Howells."

It need hardly be added that Mr. Howells's good nature prevented his adherence to his rule!

Rudyard Kipling is another whose letters fairly vibrate with personality; few men can write more interestingly, or, incidentally, considering his microscopic handwriting, say more on a letter page.

Bok was telling Kipling one day about the scrapple so dear to the heart of the Philadelphian as a breakfast dish. The author had never heard of it or tasted it, and wished for a sample. So, upon his return home, Bok had a Philadelphia market-man send some of the Philadelphia-made article, packed in ice, to Kipling in his English home. There were several pounds of it and Kipling wrote:

"By the way, that scrapple—which by token is a dish for the Gods—arrived in perfect condition, and I ate it all, or as much as I could get hold of. I am extremely grateful for it. It's all nonsense about pig being unwholesome. There isn't a Mary-ache in a barrel of scrapple."

Then later came this afterthought:

"A noble dish is that scrapple, but don't eat three slices and go to work straight on top of 'em. That's the way to dyspepsia!

"P. S. I wish to goodness you'd give another look at England before long. It's quite a country; really it is. Old, too, I believe."

It was Kipling who suggested that Bok should name his Merion home "Swastika." Bok asked what the author knew about the mystic sign:

"There is a huge book (I've forgotten the name, but the Smithsonian will know)," he wrote back, "about the Swastika (pronounced Swas-ti-ka to rhyme with 'car's ticker'), in literature, art, religion, dogma, etc. I believe there are two sorts of Swastikas, one [figure] and one [figure]; one is bad, the other is good, but which is which I know not for sure. The Hindu trader opens his yearly account-books with a Swastika as 'an auspicious beginning,' and all the races of the earth have used it. It's an inexhaustible subject, and some man in the Smithsonian ought to be full of it. Anyhow, the sign on the door or the hearth should protect you against fire and water and thieves.

"By this time should have reached you a Swastika door-knocker, which I hope may fit in with the new house and the new name. It was made by a village-smith; and you will see that it has my initials, to which I hope you will add yours, that the story may be complete.

"We are settled out here in Cape Town, eating strawberries in January and complaining of the heat, which for the last two days has been a little more than we pampered folk are used to; say 70 at night. But what a lovely land it is, and how superb are the hydrangeas! Figure to yourself four acres of 'em, all in bloom on the hillside near our home!"

Bok had visited the Panama Canal before its completion and had talked with the men, high and low, working on it, asking them how they felt about President Roosevelt's action in "digging the Canal first and talking about it afterwards." He wrote the result of his talks to Colonel Roosevelt, and received this reply:

"I shall always keep your letter, for I shall want my children and grandchildren to see it after I am gone. I feel just as you do about the Canal. It is the greatest contribution I was able to make to my country; and while I do not believe my countrymen appreciate this at the moment, I am extremely pleased to know that the men on the Canal do, for they are the men who have done and are doing the great job. I am awfully pleased that you feel the way you do.

"Theodore Roosevelt."

In 1887, General William Tecumseh Sherman was much talked about as a candidate for the presidency, until his famous declaration came out: "I will not run if nominated, and will not serve if elected." During the weeks of talk, however, much was said of General Sherman's religious views, some contending that he was a Roman Catholic; others that he was a Protestant.

Bok wrote to General Sherman and asked him. His answer was direct:

"My family is strongly Roman Catholic, but I am not. Until I ask some favor the public has no claim to question me further."

When Mrs. Sherman passed away, Doctor T. DeWitt Talmage wrote General Sherman a note of condolence, and what is perhaps one of the fullest expositions of his religious faith to which he ever gave expression came from him in a most remarkable letter, which Doctor Talmage gave to Bok.

"New York, December 12, 1886.

"My Dear Friend:

"Your most tender epistle from Mansfield, Ohio, of December 9 brought here last night by your son awakens in my brain a flood of memories. Mrs. Sherman was by nature and inheritance an Irish Catholic. Her grandfather, Hugh Boyle, was a highly educated classical scholar, whom I remember well,—married the half sister of the mother of James G. Blaine at Brownsville, Pa., settled in our native town Lancaster, Fairfield County, Ohio, and became the Clerk of the County Court. He had two daughters, Maria and Susan. Maria became the wife of Thomas Ewing, about 1819, and was the mother of my wife, Ellen Boyle Ewing. She was so staunch to what she believed the true Faith that I am sure that though she loved her children better than herself, she would have seen them die with less pang, than to depart from the "Faith." Mr. Ewing was a great big man, an intellectual giant, and looked down on religion as something domestic, something consoling which ought to be encouraged; and to him it made little difference whether the religion was Methodist, Presbyterian, Baptist, or Catholic, provided the acts were 'half as good' as their professions.

"In 1829 my father, a Judge of the Supreme Court of Ohio, died at Lebanon away from home, leaving his widow, Mary Hoyt of Norwalk, Conn. (sister to Charles and James Hoyt of Brooklyn) with a frame house in Lancaster, an income of $200 a year and eleven as hungry, rough, and uncouth children as ever existed on earth. But father had been kind, generous, manly with a big heart; and when it ceased to beat friends turned up—Our Uncle Stoddard took Charles, the oldest; W. I. married the next, Elisabeth (still living); Amelia was soon married to a merchant in Mansfield, McCorab; I, the third son, was adopted by Thomas Ewing, a neighbor, and John fell to his namesake in Mt. Vernon, a merchant.

"Surely 'Man proposes and God disposes.' I could fill a hundred pages, but will not bore you. A half century has passed and you, a Protestant minister, write me a kind, affectionate letter about my Catholic wife from Mansfield, one of my family homes, where my mother, Mary Hoyt, died, and where our Grandmother, Betsey Stoddard, lies buried. Oh, what a flood of memories come up at the name of Betsey Stoddard,—daughter of the Revd. Mr. Stoddard, who preached three times every Sunday, and as often in between as he could cajole a congregation at ancient Woodbury, Conn.,—who came down from Mansfield to Lancaster, three days' hard journey to regulate the family of her son Judge Sherman, whose gentle wife was as afraid of Grandma as any of us boys. She never spared the rod or broom, but she had more square solid sense to the yard than any woman I ever saw. From her Charles, John, and I inherit what little sense we possess.

"Lancaster, Fairfield County, was our paternal home, Mansfield that of Grandmother Stoddard and her daughter, Betsey Parker. There Charles and John settled, and when in 1846 I went to California Mother also went there, and there died in 1851.

"When a boy, once a year I had to drive my mother in an old 'dandy wagon' on her annual visit. The distance was 75 miles, further than Omaha is from San Francisco. We always took three days and stopped at every house to gossip with the woman folks, and dispense medicines and syrups to the sick, for in those days all had the chills or ague. If I could I would not awaken Grandmother Betsey Stoddard because she would be horrified at the backsliding of the servants of Christ,—but oh! how I would like to take my mother, Mary Hoyt, in a railroad car out to California, to Santa Barbara and Los Angeles, among the vineyards of grapes, the groves of oranges, lemons and pomegranates. How clearly recurs to me the memory of her exclamation when I told her I had been ordered around Cape Horn to California. Her idea was about as definite as mine or yours as to, Where is Stanley? but she saw me return with some nuggets to make her life more comfortable.

"She was a strong Presbyterian to the end, but she loved my Ellen, and the love was mutual. All my children have inherited their mother's faith, and she would have given anything if I would have simply said Amen; but it is simply impossible.

"But I am sure that you know that the God who created the minnow, and who has moulded the rose and carnation, given each its sweet fragrance, will provide for those mortal men who strive to do right in the world which he himself has stocked with birds, animals, and men;—at all events, I will trust Him with absolute confidence.

"With great respect and affection,

"Yours truly,

"W. T. Sherman."



XX. Meeting a Reverse or Two

With the hitherto unreached magazine circulation of a million copies a month in sight, Edward Bok decided to give a broader scope to the periodical. He was determined to lay under contribution not only the most famous writers of the day, but also to seek out those well-known persons who usually did not contribute to the magazines; always keeping in mind the popular appeal of his material, but likewise aiming constantly to widen its scope and gradually to lift its standard.

Sailing again for England, he sought and secured the acquaintance of Rudyard Kipling, whose alert mind was at once keenly interested in what Bok was trying to do. He was willing to co-operate, with the result that Bok secured the author's new story, William the Conqueror. When Bok read the manuscript, he was delighted; he had for some time been reading Kipling's work with enthusiasm, and he saw at once that here was one of the author's best tales.

At that time, Frances E. Willard had brought her agitation for temperance prominently before the public, and Bok had promised to aid her by eliminating from his magazine, so far as possible, all scenes which represented alcoholic drinking. It was not an iron-clad rule, but, both from the principle fixed for his own life and in the interest of the thousands of young people who read his magazine, he believed it would be better to minimize all incidents portraying alcoholic drinking or drunkenness. Kipling's story depicted several such scenes; so when Bok sent the proofs he suggested that if Kipling could moderate some of these scenes, it would be more in line with the policy of the magazine. Bok did not make a special point of the matter, leaving it to Kipling's judgment to decide how far he could make such changes and preserve the atmosphere of his story.

From this incident arose the widely published story that Bok cabled Kipling, asking permission to omit a certain drinking reference, and substitute something else, whereupon Kipling cabled back: "Substitute Mellin's Food." As a matter of fact (although it is a pity to kill such a clever story), no such cable was ever sent and no such reply ever received. As Kipling himself wrote to Bok: "No, I said nothing about Mellin's Food. I wish I had." An American author in London happened to hear of the correspondence between the editor and the author, it appealed to his sense of humor, and the published story was the result. If it mattered, it is possible that Brander Matthews could accurately reveal the originator of the much-published yarn.

From Kipling's house Bok went to Tunbridge Wells to visit Mary Anderson, the one-time popular American actress, who had married Antonio de Navarro and retired from the stage. A goodly number of editors had tried to induce the retired actress to write, just as a number of managers had tried to induce her to return to the stage. All had failed. But Bok never accepted the failure of others as a final decision for himself; and after two or three visits, he persuaded Madame de Navarro to write her reminiscences, which he published with marked success in the magazine.

The editor was very desirous of securing something for his magazine that would delight children, and he hit upon the idea of trying to induce Lewis Carroll to write another Alice in Wonderland series. He was told by English friends that this would be difficult, since the author led a secluded life at Oxford and hardly ever admitted any one into his confidence. But Bok wanted to beard the lion in his den, and an Oxford graduate volunteered to introduce him to an Oxford don through whom, if it were at all possible, he could reach the author. The journey to Oxford was made, and Bok was introduced to the don, who turned out to be no less a person than the original possessor of the highly colored vocabulary of the "White Rabbit" of the Alice stories.

"Impossible," immediately declared the don. "You couldn't persuade Dodgson to consider it." Bok, however, persisted, and it so happened that the don liked what he called "American perseverance."

"Well, come along," he said. "We'll beard the lion in his den, as you say, and see what happens. You know, of course, that it is the Reverend Charles L. Dodgson that we are going to see, and I must introduce you to that person, not to Lewis Carroll. He is a tutor in mathematics here, as you doubtless know; lives a rigidly secluded life; dislikes strangers; makes no friends; and yet withal is one of the most delightful men in the world if he wants to be."

But as it happened upon this special occasion when Bok was introduced to him in his chambers in Tom Quad, Mr. Dodgson did not "want to be" delightful. There was no doubt that back of the studied reserve was a kindly, charming, gracious gentleman, but Bok's profession had been mentioned and the author was on rigid guard.

When Bok explained that one of the special reasons for his journey from America this summer was to see him, the Oxford mathematician sufficiently softened to ask the editor to sit down.

Bok then broached his mission.

"You are quite in error, Mr. Bok," was the Dodgson comment. "You are not speaking to the person you think you are addressing."

For a moment Bok was taken aback. Then he decided to go right to the point.

"Do I understand, Mr. Dodgson, that you are not 'Lewis Carroll'; that you did not write Alice in Wonderland?"

For an answer the tutor rose, went into another room, and returned with a book which he handed to Bok. "This is my book," he said simply. It was entitled An Elementary Treatise on Determinants, by C. L. Dodgson. When he looked up, Bok found the author's eyes riveted on him.

"Yes," said Bok. "I know, Mr. Dodgson. If I remember correctly, this is the same book of which you sent a copy to Her Majesty, Queen Victoria, when she wrote to you for a personal copy of your Alice."

Dodgson made no comment. The face was absolutely without expression save a kindly compassion intended to convey to the editor that he was making a terrible mistake.

"As I said to you in the beginning, Mr. Bok, you are in error. You are not speaking to 'Lewis Carroll.'" And then: "Is this the first time you have visited Oxford?"

Bok said it was; and there followed the most delightful two hours with the Oxford mathematician and the Oxford don, walking about and into the wonderful college buildings, and afterward the three had a bite of lunch together. But all efforts to return to "Lewis Carroll" were futile. While saying good-by to his host, Bok remarked:

"I can't help expressing my disappointment, Mr. Dodgson, in my quest in behalf of the thousands of American children who love you and who would so gladly welcome 'Lewis Carroll' back."

The mention of children and their love for him momentarily had its effect. For an instant a different light came into the eyes, and Bok instinctively realized Dodgson was about to say something. But he checked himself. Bok had almost caught him off his guard.

"I am sorry," he finally said at the parting at the door, "that you should be disappointed, for the sake of the children as well as for your own sake. I only regret that I cannot remove the disappointment."

And as the trio walked to the station, the don said: "That is his attitude toward all, even toward me. He is not 'Lewis Carroll' to any one; is extremely sensitive on the point, and will not acknowledge his identity. That is why he lives so much to himself. He is in daily dread that some one will mention Alice in his presence. Curious, but there it is."

Edward Bok's next quest was to be even more disappointing; he was never even to reach the presence of the person he sought. This was Florence Nightingale, the Crimean nurse. Bok was desirous of securing her own story of her experiences, but on every hand he found an unwillingness even to take him to her house. "No use," said everybody. "She won't see any one. Hates publicity and all that sort of thing, and shuns the public." Nevertheless, the editor journeyed to the famous nurse's home on South Street, in the West End of London, only to be told that "Miss Nightingale never receives strangers."

"But I am not a stranger," insisted the editor. "I am one of her friends from America. Please take my card to her."

This mollified the faithful secretary, but the word instantly came back that Miss Nightingale was not receiving any one that day. Bok wrote her a letter asking for an appointment, which was never answered. Then he wrote another, took it personally to the house, and awaited an answer, only to receive the message that "Miss Nightingale says there is no answer to the letter."

Bok had with such remarkable uniformity secured whatever he sought, that these experiences were new to him. Frankly, they puzzled him. He was not easily baffled, but baffled he now was, and that twice in succession. Turn as he might, he could find no way in which to reopen an approach to either the Oxford tutor or the Crimean nurse. They were plainly too much for him, and he had to acknowledge his defeat. The experience was good for him; he did not realize this at the time, nor did he enjoy the sensation of not getting what he wanted. Nevertheless, a reverse or two was due. Not that his success was having any undesirable effect upon him; his Dutch common sense saved him from any such calamity. But at thirty years of age it is not good for any one, no matter how well balanced, to have things come his way too fast and too consistently. And here were breaks. He could not have everything he wanted, and it was just as well that he should find that out.

In his next quest he found himself again opposed by his London friends. Unable to secure a new Alice in Wonderland for his child readers, he determined to give them Kate Greenaway. But here he had selected another recluse. Everybody discouraged him. The artist never saw visitors, he was told, and she particularly shunned editors and publishers. Her own publishers confessed that Miss Greenaway was inaccessible to them. "We conduct all our business with her by correspondence. I have never seen her personally myself," said a member of the firm.

Bok inwardly decided that two failures in two days were sufficient, and he made up his mind that there should not be a third. He took a bus for the long ride to Hampstead Heath, where the illustrator lived, and finally stood before a picturesque Queen Anne house that one would have recognized at once, with its lower story of red brick, its upper part covered with red tiles, its windows of every size and shape, as the inspiration of Kate Greenaway's pictures. As it turned out later, Miss Greenaway's sister opened the door and told the visitor that Miss Greenaway was not at home.

"But, pardon me, has not Miss Greenaway returned? Is not that she?" asked Bok, as he indicated a figure just coming down the stairs. And as the sister turned to see, Bok stepped into the hall. At least he was inside! Bok had never seen a photograph of Miss Greenaway, he did not know that the figure coming downstairs was the artist; but his instinct had led him right, and good fortune was with him.

He now introduced himself to Kate Greenaway, and explained that one of his objects in coming to London was to see her on behalf of thousands of American children. Naturally there was nothing for the illustrator to do but to welcome her visitor. She took him into the garden, where he saw at once that he was seated under the apple-tree of Miss Greenaway's pictures. It was in full bloom, a veritable picture of spring loveliness. Bok's love for nature pleased the artist and when he recognized the cat that sauntered up, he could see that he was making headway. But when he explained his profession and stated his errand, the atmosphere instantly changed. Miss Greenaway conveyed the unmistakable impression that she had been trapped, and Bok realized at once that he had a long and difficult road ahead.

Still, negotiate it he must and he did! And after luncheon in the garden, with the cat in his lap, Miss Greenaway perceptibly thawed out, and when the editor left late that afternoon he had the promise of the artist that she would do her first magazine work for him. That promise was kept monthly, and for nearly two years her articles appeared, with satisfaction to Miss Greenaway and with great success to the magazine.

The next opposition to Bok's plans arose from the soreness generated by the absence of copyright laws between the United States and Great Britain and Europe. The editor, who had been publishing a series of musical compositions, solicited the aid of Sir Arthur Sullivan. But it so happened that Sir Arthur's most famous composition, "The Lost Chord," had been taken without leave by American music publishers, and sold by the hundreds of thousands with the composer left out on pay-day. Sir Arthur held forth on this injustice, and said further that no accurate copy of "The Lost Chord" had, so far as he knew, ever been printed in the United States. Bok saw his chance, and also an opportunity for a little Americanization.

"Very well, Sir Arthur," suggested Bok; "with your consent, I will rectify both the inaccuracy and the injustice. Write out a correct version of 'The Lost Chord'; I will give it to nearly a million readers, and so render obsolete the incorrect copies; and I shall be only too happy to pay you the first honorarium for an American publication of the song. You can add to the copy the statement that this is the first American honorarium you have ever received, and so shame the American publishers for their dishonesty."

This argument appealed strongly to the composer, who made a correct transcript of his famous song, and published it with the following note:

"This is the first and only copy of "The Lost Chord" which has ever been sent by me to an American publisher. I believe all the reprints in America are more or less incorrect. I have pleasure in sending this copy to my friend, Mr. Edward W. Bok, for publication in The Ladies' Home Journal for which he gives me an honorarium, the only one I have ever received from an American publisher for this song.

"Arthur Sullivan."

At least, thought Bok, he had healed one man's soreness toward America. But the next day he encountered another. On his way to Paris, he stopped at Amiens to see Jules Verne. Here he found special difficulty in that the aged author could not speak English, and Bok knew only a few words of casual French. Finally a neighbor's servant who knew a handful of English words was commandeered, and a halting three-cornered conversation was begun.

Bok found two grievances here: the author was incensed at the American public because it had insisted on classing his books as juveniles, and accepting them as stories of adventure, whereas he desired them to be recognized as prophetic stories based on scientific facts—an insistence which, as all the world knows, has since been justified. Bok explained, however, that the popular acceptance of the author's books as stories of adventure was by no means confined to America; that even in his own country the same was true. But Jules Verne came back with the rejoinder that if the French were a pack of fools, that was no reason why the Americans should also be.

The argument weighed somewhat with the author, however, for he then changed the conversation, and pointed out how he had been robbed by American publishers who had stolen his books. So Bok was once more face to face with the old non-copyright conditions; and although he explained the existence then of a new protective law, the old man was not mollified. He did not take kindly to Bok's suggestion for new work, and closed the talk, extremely difficult to all three, by declaring that his writing days were over.

But Bok was by no means through with non-copyright echoes, for he was destined next day to take part in an even stormier interview on the same subject with Alexander Dumas fils. Bok had been publishing a series of articles in which authors had told how they had been led to write their most famous books, and he wanted Dumas to tell "How I Came to Write 'Camille.'"

To act as translator this time, Bok took a trusted friend with him, whose services he found were needed, as Dumas was absolutely without knowledge of English. No sooner was the editor's request made known to him than the storm broke. Dumas, hotly excited, denounced the Americans as robbers who had deprived him of his rightful returns on his book and play, and ended by declaring that he would trust no American editor or publisher.

The mutual friend explained the new copyright conditions and declared that Bok intended to treat the author honorably. But Dumas was not to be mollified. He launched forth upon a new arraignment of the Americans; dishonesty was bred in their bones! and they were robbers by instinct. All of this distinctly nettled Bok's Americanism. The interpreting friend finally suggested that the article should be written while Bok was in Paris; that he should be notified when the manuscript was ready, that he should then appear with the actual money in hand in French notes; and that Dumas should give Bok the manuscript when Bok handed Dumas the money.

"After I count it," said Dumas.

This was the last straw!

"Pray ask him," Bok suggested to the interpreter, "what assurance I have that he will deliver the manuscript to me after he has the money." The friend protested against translating this thrust, but Bok insisted, and Dumas, not knowing what was coming, insisted that the message be given him. When it was, the man was a study; he became livid with rage.

"But," persisted Bok, "say to Monsieur Dumas that I have the same privilege of distrusting him as he apparently has of distrusting me."

And Bok can still see the violent gesticulations of the storming French author, his face burning with passionate anger, as the two left him.

Edward Bok now sincerely hoped that his encounters with the absence of a law that has been met were at an end!

Rosa Bonheur, the painter of "The Horse Fair," had been represented to Bok as another recluse who was as inaccessible as Kate Greenaway. He had known of the painter's intimate relations with the ex-Empress Eugenie, and desired to get these reminiscences. Everybody dissuaded him; but again taking a French friend he made the journey to Fontainebleau, where the artist lived in a chateau in the little village of By.

A group of dogs, great, magnificent tawny creatures, welcomed the two visitors to the chateau; and the most powerful door that Bok had ever seen, as securely bolted as that of a cell, told of the inaccessibility of the mistress of the house. Two blue-frocked peasants explained how impossible it was for any one to see their mistress, so Bok asked permission to come in and write her a note.

This was granted; and then, as in the case of Kate Greenaway, Rosa Bonheur herself walked into the hall, in a velvet jacket, dressed, as she always was, in man's attire. A delightful smile lighted the strong face, surmounted by a shock of gray hair, cut short at the back; and from the moment of her first welcome there was no doubt of her cordiality to the few who were fortunate enough to work their way into her presence. It was a wonderful afternoon, spent in the painter's studio in the upper part of the chateau; and Bok carried away with him the promise of Rosa Bonheur to write the story of her life for publication in the magazine.

On his return to London the editor found that Charles Dana Gibson had settled down there for a time. Bok had always wanted Gibson to depict the characters of Dickens; and he felt that this was the opportunity, while the artist was in London and could get the atmosphere for his work. Gibson was as keen for the idea as was Bok, and so the two arranged the series which was subsequently published.

On his way to his steamer to sail for home, Bok visited "Ian Maclaren," whose Bonnie Brier Bush stories were then in great vogue, and not only contracted for Doctor Watson's stories of the immediate future, but arranged with him for a series of articles which, for two years thereafter, was published in the magazine.

The editor now sailed for home, content with his assembly of foreign "features."

On the steamer, Bok heard of the recent discovery of some unpublished letters by Louisa May Alcott, written to five girls, and before returning to Philadelphia, he went to Boston, got into touch with the executors of the will of Miss Alcott, brought the letters back with him to read, and upon reaching Philadelphia, wired his acceptance of them for publication.

But the traveller was not at once to enjoy his home. After only a day in Philadelphia he took a train for Indianapolis. Here lived the most thoroughly American writer of the day, in Bok's estimation: James Whitcomb Riley. An arrangement, perfected before his European visit, had secured to Bok practically exclusive rights to all the output of his Chicago friend Eugene Field, and he felt that Riley's work would admirably complement that of Field. This Bok explained to Riley, who readily fell in with the idea, and the editor returned to Philadelphia with a contract to see Riley's next dozen poems. A little later Field passed away. His last poem, "The Dream Ship," and his posthumous story "The Werewolf" appeared in The Ladies' Home Journal.

A second series of articles was also arranged for with Mr. Harrison, in which he was to depict, in a personal way, the life of a President of the United States, the domestic life of the White House, and the financial arrangements made by the government for the care of the chief executive and his family. The first series of articles by the former President had been very successful; Bok felt that they had accomplished much in making his women readers familiar with their country and the machinery of its government. After this, which had been undeniably solid reading, Bok reasoned that the supplementary articles, in lighter vein, would serve as a sort of dessert. And so it proved.

Bok now devoted his attention to strengthening the fiction in his magazine. He sought Mark Twain, and bought his two new stories; he secured from Bret Harte a tale which he had just finished; and then ran the gamut of the best fiction writers of the day, and secured their best output. Marion Crawford, Conan Doyle, Sarah Orne Jewett, John Kendrick Bangs, Kate Douglas Wiggin, Hamlin Garland, Mrs. Burton Harrison, Elizabeth Stuart Phelps, Mary E. Wilkins, Jerome K. Jerome, Anthony Hope, Joel Chandler Harris, and others followed in rapid succession.

He next turned for a moment to his religious department, decided that it needed a freshening of interest, and secured Dwight L. Moody, whose evangelical work was then so prominently in the public eye, to conduct "Mr. Moody's Bible Class" in the magazine—practically a study of the stated Bible lesson of the month with explanation in Moody's simple and effective style.

The authors for whom the Journal was now publishing attracted the attention of all the writers of the day, and the supply of good material became too great for its capacity. Bok studied the mechanical makeup, and felt that by some method he must find more room in the front portion. He had allotted the first third of the magazine to the general literary contents and the latter two-thirds to departmental features. Toward the close of the number, the departments narrowed down from full pages to single columns with advertisements on each side.

One day Bok was handling a story by Rudyard Kipling which had overrun the space allowed for it in the front. The story had come late, and the rest of the front portion of the magazine had gone to press. The editor was in a quandary what to do with the two remaining columns of the Kipling tale. There were only two pages open, and these were at the back. He remade those pages, and continued the story from pages 6 and 7 to pages 38 and 39.

At once Bok saw that this was an instance where "necessity was the mother of invention." He realized that if he could run some of his front material over to the back he would relieve the pressure at the front, present a more varied contents there, and make his advertisements more valuable by putting them next to the most expensive material in the magazine.

In the next issue he combined some of his smaller departments in the back; and thus, in 1896, he inaugurated the method of "running over into the back" which has now become a recognized principle in the make-up of magazines of larger size. At first, Bok's readers objected, but he explained why he did it; that they were the benefiters by the plan; and, so far as readers can be satisfied with what is, at best, an awkward method of presentation, they were content. Today the practice is undoubtedly followed to excess, some magazines carrying as much as eighty and ninety columns over from the front to the back; from such abuse it will, of course, free itself either by a return to the original method of make-up or by the adoption of some other less-irritating plan.

In his reading about the America of the past, Bok had been impressed by the unusual amount of interesting personal material that constituted what is termed unwritten history—original events of tremendous personal appeal in which great personalities figured but which had not sufficient historical importance to have been included in American history. Bok determined to please his older readers by harking back to the past and at the same time acquainting the younger generation with the picturesque events which had preceded their time.

He also believed that if he could "dress up" the past, he could arrest the attention of a generation which was too likely to boast of its interest only in the present and the future. He took a course of reading and consulted with Mr. Charles A. Dana, editor of the New York Sun, who had become interested in his work and had written him several voluntary letters of commendation. Mr. Dana gave material help in the selection of subjects and writers; and was intensely amused and interested by the manner in which his youthful confrere "dressed up" the titles of what might otherwise have looked like commonplace articles.

"I know," said Bok to the elder editor, "it smacks a little of the sensational, Mr. Dana, but the purpose I have in mind of showing the young people of to-day that some great things happened before they came on the stage seems to me to make it worth while."

Mr. Dana agreed with this view, supplemented every effort of the Philadelphia editor in several subsequent talks, and in 1897 The Ladies' Home Journal began one of the most popular series it ever published. It was called "Great Personal Events," and the picturesque titles explained them. He first pictured the enthusiastic evening "When Jenny Lind Sang in Castle Garden," and, as Bok added to pique curiosity, "when people paid $20 to sit in rowboats to hear the Swedish nightingale."

This was followed by an account of the astonishing episode "When Henry Ward Beecher Sold Slaves in Plymouth Pulpit"; the picturesque journey "When Louis Kossuth Rode Up Broadway"; the triumphant tour "When General Grant Went Round the World"; the forgotten story of "When an Actress Was the Lady of the White House"; the sensational striking of the gold vein in 1849, "When Mackay Struck the Great Bonanza"; the hitherto little-known instance "When Louis Philippe Taught School in Philadelphia"; and even the lesser-known fact of the residence of the brother of Napoleon Bonaparte in America, "When the King of Spain Lived on the Banks of the Schuylkill"; while the story of "When John Wesley Preached in Georgia" surprised nearly every Methodist, as so few had known that the founder of their church had ever visited America. Each month picturesque event followed graphic happening, and never was unwritten history more readily read by the young, or the memories of the older folk more catered to than in this series which won new friends for the magazine on every hand.



XXI. A Signal Piece of Constructive Work

The influence of his grandfather and the injunction of his grandmother to her sons that each "should make the world a better or a more beautiful place to live in" now began to be manifest in the grandson. Edward Bok was unconscious that it was this influence. What directly led him to the signal piece of construction in which he engaged was the wretched architecture of small houses. As he travelled through the United States he was appalled by it. Where the houses were not positively ugly, they were, to him, repellently ornate. Money was wasted on useless turrets, filigree work, or machine-made ornamentation. Bok found out that these small householders never employed an architect, but that the houses were put up by builders from their own plans.

Bok felt a keen desire to take hold of the small American house and make it architecturally better. He foresaw, however, that the subject would finally include small gardening and interior decoration. He feared that the subject would become too large for the magazine, which was already feeling the pressure of the material which he was securing. He suggested, therefore, to Mr. Curtis that they purchase a little magazine published in Buffalo, N. Y., called Country Life, and develop it into a first-class periodical devoted to the general subject of a better American architecture, gardening, and interior decoration, with special application to the small house. The magazine was purchased, and while Bok was collecting his material for a number of issues ahead, he edited and issued, for copyright purposes, a four-page magazine.

An opportunity now came to Mr. Curtis to purchase The Saturday Evening Post, a Philadelphia weekly of honored prestige, founded by Benjamin Franklin. It was apparent at once that the company could not embark upon the development of two magazines at the same time, and as a larger field was seen for The Saturday Evening Post, it was decided to leave Country Life in abeyance for the present.

Mr. Frank Doubleday, having left the Scribners and started a publishing-house of his own, asked Bok to transfer to him the copyright and good will of Country Life—seeing that there was little chance for The Curtis Publishing Company to undertake its publication. Mr. Curtis was willing, but he knew that Bok had set his heart on the new magazine and left it for him to decide. The editor realized, as the Doubleday Company could take up the magazine at once, the unfairness of holding indefinitely the field against them by the publication of a mere copyright periodical. And so, with a feeling as if he were giving up his child to another father, Bok arranged that The Curtis Publishing Company should transfer to the Doubleday, Page Company all rights to the title and periodical of which the present beautiful publication Country Life is the outgrowth.

Bok now turned to The Ladies' Home Journal as his medium for making the small-house architecture of America better. He realized the limitation of space, but decided to do the best he could under the circumstances. He believed he might serve thousands of his readers if he could make it possible for them to secure, at moderate cost, plans for well-designed houses by the leading domestic architects in the country. He consulted a number of architects, only to find them unalterably opposed to the idea. They disliked the publicity of magazine presentation; prices differed too much in various parts of the country; and they did not care to risk the criticism of their contemporaries. It was "cheapening" their profession!

Bok saw that he should have to blaze the way and demonstrate the futility of these arguments. At last he persuaded one architect to co-operate with him, and in 1895 began the publication of a series of houses which could be built, approximately, for from one thousand five hundred dollars to five thousand dollars. The idea attracted attention at once, and the architect-author was swamped with letters and inquiries regarding his plans.

This proved Bok's instinct to be correct as to the public willingness to accept such designs; upon this proof he succeeded in winning over two additional architects to make plans. He offered his readers full building specifications and plans to scale of the houses with estimates from four builders in different parts of the United States for five dollars a set. The plans and specifications were so complete in every detail that any builder could build the house from them.

A storm of criticism now arose from architects and builders all over the country, the architects claiming that Bok was taking "the bread out of their mouths" by the sale of plans, and local builders vigorously questioned the accuracy of the estimates. But Bok knew he was right and persevered.

Slowly but surely he won the approval of the leading architects, who saw that he was appealing to a class of house-builders who could not afford to pay an architect's fee, and that, with his wide circulation, he might become an influence for better architecture through these small houses. The sets of plans and specifications sold by the thousands. It was not long before the magazine was able to present small-house plans by the foremost architects of the country, whose services the average householder could otherwise never have dreamed of securing.

Bok not only saw an opportunity to better the exterior of the small houses, but he determined that each plan published should provide for two essentials: every servant's room should have two windows to insure cross-ventilation, and contain twice the number of cubic feet usually given to such rooms; and in place of the American parlor, which he considered a useless room, should be substituted either a living-room or a library. He did not point to these improvements; every plan simply presented the larger servant's room and did not present a parlor. It is a singular fact that of the tens of thousands of plans sold, not a purchaser ever noticed the absence of a parlor except one woman in Brookline, Mass., who, in erecting a group of twenty-five "Journal houses," discovered after she had built ten that not one contained a parlor!

"Ladies' Home Journal houses" were now going up in communities all over the country, and Bok determined to prove that they could be erected for the prices given. Accordingly, he published a prize offer of generous amount for the best set of exterior and interior photographs of a house built after a Journal plan within the published price. Five other and smaller prizes were also offered. A legally attested builder's declaration was to accompany each set of photographs. The sets immediately began to come in, until over five thousand had been received. Bok selected the best of these, awarded the prizes, and began the presentation of the houses actually built after the published plans.

Of course this publication gave fresh impetus to the whole scheme; prospective house-builders pointed their builders to the proof given, and additional thousands of sets of plans were sold. The little houses became better and better in architecture as the series went on, and occasionally a plan for a house costing as high as ten thousand dollars was given.

For nearly twenty-five years Bok continued to publish pictures of houses and plans. Entire colonies of "Ladies' Home Journal houses" have sprung up, and building promoters have built complete suburban developments with them. How many of these homes have been erected it is, of course, impossible to say; the number certainly runs into the thousands.

It was one of the most constructive and far-reaching pieces of work that Bok did during his editorial career—a fact now recognized by all architects. Shortly before Stanford White passed away, he wrote: "I firmly believe that Edward Bok has more completely influenced American domestic architecture for the better than any man in this generation. When he began, I was short-sighted enough to discourage him, and refused to cooperate with him. If Bok came to me now, I would not only make plans for him, but I would waive any fee for them in retribution for my early mistake."

Bok then turned to the subject of the garden for the small house, and the development of the grounds around the homes which he had been instrumental in putting on the earth. He encountered no opposition here. The publication of small gardens for small houses finally ran into hundreds of pages, the magazine supplying planting plans and full directions as to when and how to plant-this time without cost.

Next the editor decided to see what he could do for the better and simpler furnishing of the small American home. Here was a field almost limitless in possible improvement, but he wanted to approach it in a new way. The best method baffled him until one day he met a woman friend who told him that she was on her way to a funeral at a friend's home.

"I didn't know you were so well acquainted with Mrs. S—," said Bok.

"I wasn't, as a matter of fact," replied the woman. "I'll be perfectly frank; I am going to the funeral just to see how Mrs. S—'s house is furnished. She was always thought to have great taste, you know, and, whether you know it or not, a woman is always keen to look into another woman's home."

Bok realized that he had found the method of presentation for his interior-furnishing plan if he could secure photographs of the most carefully furnished homes in America. He immediately employed the best available expert, and within six months there came to him an assorted collection of over a thousand photographs of well-furnished rooms. The best were selected, and a series of photographic pages called "Inside of 100 Homes" was begun. The editor's woman friend had correctly pointed the way to him, for this series won for his magazine the enviable distinction of being the first magazine of standing to reach the then marvellous record of a circulation of one million copies a month. The editions containing the series were sold out as fast as they could be printed.

The editor followed this up with another successful series, again pictorial. He realized that to explain good taste in furnishing by text was almost impossible. So he started a series of all-picture pages called "Good Taste and Bad Taste." He presented a chair that was bad in lines and either useless or uncomfortable to sit in, and explained where and why it was bad; and then put a good chair next to it, and explained where and why it was good.

The lesson to the eye was simply and directly effective; the pictures told their story as no printed word could have done, and furniture manufacturers and dealers all over the country, feeling the pressure from their customers, began to put on the market the tables, chairs, divans, bedsteads, and dressing-tables which the magazine was portraying as examples of good taste. It was amazing that, within five years, the physical appearance of domestic furniture in the stores completely changed.