The artist himself seems to hold the portrait in low esteem. Having finished it, he reversed the canvas and used the back for painting a vapid snow scenes--a thing almost bad enough to go into a Fifth Avenue show-window. Then he abandoned both pictures. I discovered the portrait by accidentally knocking the snow scene off a wall. It has never been framed. Drieser himself has probably forgotten it. ... No, I do _not_ predict that it will be sold to some Pittsburgh nail manufacturer, in 1950, for $100,000. If it lasts two or three more years, unframed and disesteemed, it will be running in luck. When Dreiser is hanged, I suppose, relic-hunters will make a search for it. But by that time it will have died as a door-mat. 7 _The Cerebral Mime_ Of all actors, the most offensive to the higher cerebral centers is the one who pretends to intellectuality. His alleged intelligence, of course, is always purely imaginary: no man of genuinely superior intelligence has ever been an actor. Even supposing a young man of appreciable mental powers to be lured upon the stage, as philosophers are occasionally lured into bordellos, his mind would be inevitably and almost immediately destroyed by the gaudy nonsense issuing from his mouth every night. That nonsense enters into the very fiber of the actor. He becomes a grotesque boiling down of all the preposterous characters that he has ever impersonated. Their characteristics are seen in his manner, in his reactions to stimuli, in his point of view. He becomes a walking artificiality, a strutting dummy, a thematic catalogue of imbecilities. There are, of course, plays that are not wholly nonsense, and now and then one encounters an actor who aspires to appear in them. This aspiration almost always overtakes the so-called actor-manager--that is to say, the actor who has got rich and is thus ambitious to appear as a gentleman. Such aspirants commonly tackle Shakespeare, and if not Shakespeare, then Shaw, or Hauptmann, or Rostand, or some other apparently intellectual dramatist. But this is seldom more than a passing madness. The actor-manager may do that sort of thing once in a while, but in the main he sticks to his garbage. Consider, for example, the late Henry Irving. He posed as an intellectual and was forever gabbling about his high services to the stage, and yet he appeared constantly in such puerile things as "The Bells," beside which the average newspaper editorial or college yell was literature. So with the late Mansfield. His pretension, deftly circulated by press-agents, was that he was a man of brilliant and polished mind. Nevertheless, he spent two-thirds of his life in the theater playing such abominable drival as "A Parisian Romance" and "Dr. Jekyll and Mr. Hyde."