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Careers of Danger and Daring

<hr style="width: 65%;" /> <h2>II</h2> <h3>ABOUT DOUBLE AND TRIPLE SOMERSAULTS AND THE DANGER OF LOSING HEART</h3> <div class='cap'>IN talking with my circus friends I was surprised to learn that a trapeze performer in perfect practice, say in mid-season, may suddenly, without knowing why, begin to hesitate or blunder in a certain trick that he has done without a slip for years. This happened to Danny Ryan in the fall of 1900, when he found himself growing more and more uncertain of his difficult pirouette leap, a feat invented by himself in 1896, and never done by another performer. Danny did it first when he used to play the clown with the spring-board leapers who do graceful somersaults over elephants and horses. With them would come Danny, made up as a fat man, and do a backward somersault and a full twister at the same time, the effect being a queer corkscrew turn that made the people laugh. They little suspected that this awkward-looking leap was one of the most difficult feats in the air ever attempted, or that it had cost Ryan weeks of patient practice and many a hard knock before he mastered it.</div> And then one day, after doing it hundreds of times with absolute ease, he did it badly, then he did it worse, then he fell, and finally began to be afraid of it and left it out of the act. Acrobats shake their heads when you ask for an explanation of a thing like that. They don't know the explanation, but they dread the thing. "When a man feels that way about a trick, he's got to quit it for a while," said Ryan, "or he'll get hurt. 'Most all the accidents happen where a performer forces himself against something inside him that says stop. Sometimes an acrobat has to give up his work entirely. Now, there's Dunham,—you've heard of him,—the greatest performer in the world on high bars. They'll give him any salary he wants to ask. Graceful? Well, you ought to see him let go from his giant swing and do a back somersault clean over the middle bar and catch the third! And now they say he's gone out of the business. Somebody told me it was religion. Don't you believe it. He's had a feeling—it's something like fear, but it isn't fear—that he's worked on high bars long enough." "He's had bad luck with his partners, too," remarked Weitzel. "Couple of 'em missed the turn somehow and got killed. Say, that takes a man's nerve as much as anything, to have his partner hurt. I don't wonder Dunham wants to quit." "Tell you where it's hard on an acrobat," put in Zorella—"that's where he can't quit on account of his family—where he needs the money. I remember a young fellow joined the show out west to leap over elephants. He got along well enough over two elephants, but when it came to three, why, we could all see he was shaky. Some of the boys told him he'd better stop, but he said he'd try to learn, and he was such a nice, modest fellow and worked so hard that everybody wished him luck. But it wasn't any use. One day he tackled a double over three elephants, and came down all in sections, with his right foot on the mattress and his left foot on the ground. That was his last leap, poor fellow, for the ankle bones snapped as his left foot struck, and a few hours later he lay in the dressing-room tent, pretty white, with the doctors over him. I'll never forget the way he looked up at us when we came in. He was game all right, but his eyes were awful pathetic. 'Well, boys' said he, 'here I am. I did the best I could.' Turned out he'd done it for a sick wife and a little baby. Pretty tough, wasn't it?" Speaking of leaps over elephants brings to my mind an afternoon when I watched a circus rehearsal in the open air. That is a thing better worth seeing, to my mind, <ins title="Transcriber's Note: original reads 'that'">than</ins> the regular performance; the acrobats and riders in their every-day clothes are more like ordinary men and women, and their feats seem the more difficult for occasional slips and failures. Here, for instance, are a mother and daughter, in shirt-waists, watching the trick monkey ride a pony, when suddenly a whistle sounds, and off goes the mother to drive three plunging horses in a chariot-race, while the daughter hurries to her part in an equestrian quadrille. And now these children playing near the drilling elephants trot into the ring and do wonderful things on bicycles. And yonder sleepy-looking man is a lion-tamer; and those three are the famous Potters, aërial leapers; and this thick-set fellow in his shirt-sleeves is Artressi, the best jumper in the circus. He's going to practise now; see, they are putting up the spring-board and the long downward run that leads to it. These other men are jumpers, too, but Artressi is the star; he draws the big salary. <div class="figcenter"> <ANTIMG src="images/illus62.jpg" width-obs="500" height-obs="313" alt=""FOUR ELEPHANTS WAS ENOUGH FOR ANY MAN TO LEAP OVER."" title="" /> "FOUR ELEPHANTS WAS ENOUGH FOR ANY MAN TO LEAP OVER."</div> Now they start and spring off rather clumsily, one after another, in straight leaps to the mattress. They won't work into good form for some days yet. Here they come again, a little faster, and two of them try singles. Here comes Artressi. Ah! a double forward, and prettily taken. The crowd applauds. Now a tall man tries a double. Gradually the practice gets hotter until every man is doing his best. There will be stiff joints here in the morning, but never mind! In a resting-spell I sat down by Artressi and talked with him about leaping. It was hard, he said, going off a spring-board into empty air. Didn't know how it was, but he could always do better with something to leap over, say elephants or horses. He could judge the mattress easier; wasn't so apt to miss it. What was his biggest leap? Well, four elephants and three camels was about his best, with a pyramid of men on top. He'd cleared that twice a day for weeks some years ago, but he wouldn't do it now. No, sir; four elephants was enough for any man to leap over if he had a wife and child. That made a flight of thirty feet, anyhow, from the spring-board to the ground. Oh, yes, he turned two somersaults on the way—forward somersaults. It wasn't possible for anybody to clear four elephants and turn backward somersaults. I asked Artressi (his real name is Artress) about a leap with three somersaults, and found him positive that such a feat will never become part of a regular circus program. A man can turn the three somersaults all right, but he loses control of himself, and doesn't know whether he is coming down right or wrong. In fact, he is sure to come down wrong if he does it often. Then he mentioned the one case where he himself had made a leap with three somersaults. It was down in Kentucky, at the home of his boyhood. Years had passed since he had seen the town, and in that time he had risen from nothing to a blaze of circus glory. He had become the "Great Artressi" instead of little Joe Artress, and now he was to appear before the people who knew him. It was perhaps the most exciting moment of his life, and as he came down the run toward the spring-board he nerved himself to so fine an effort that instead of doing two somersaults over the horses and elephants, as he intended, he did three, and, by a miracle of fortune, landed safely. That was his first and last triple; he wasn't taking chances of a broken neck or a twisted spine, which had been the end of more than one ambitious leaper. No, sir; he would stick to doubles, where a man knows exactly what he's doing. In talking with acrobats, I came upon an interesting phenomenon that seems almost like a violation of the laws of gravitation. It appears that the movements of a performer on the bars or trapeze are affected in a marked degree by the slope of the ground underneath. In other words, although bars and trapeze may rest on supports that are perfectly level, yet the swing of an acrobat's body will be accelerated over a downward slope or retarded over an upward slope. So true is this that the trapeze performer swinging over an upward slope will often require all his strength to reach a given point, while over a downward slope he must hold back, lest he reach it too easily and suffer a collision. Nevertheless, the swing in both cases is precisely the same, with rigging and bars fixed to a true level. On this point there have been endless arguments, and many persons have contended that acrobats must imagine all this, since the upward or downward slope of the ground under a trapeze can in no way affect the movement of that trapeze. I fancy the wisdom of such people is like that of the professors who proved some years ago that it is a physical impossibility for a ball-player to "pitch a curve." There is no doubt that trapeze performers are obliged to take serious account of the ground's slope in their daily work, to note carefully the amount of slope and the direction of slope, and to take their precautions accordingly. If they did not they would fail in their feats. Those are the facts to which all acrobats bear witness, let scientists explain them as they may. "Suppose the ground slopes to one side or the other under your trapeze," I asked Ryan, one day. "How does that affect you?" "It draws you down the slope, and makes your bar swing that way." "What do you do about it?" "Sometimes I pull the bar over a little in starting, so as to balance the pull of the hill; but that's uncertain. It's better to fix the rigging so that the bar is a little higher on the downhill side." Ryan said that a straight-ahead downhill slope is the worst for a man, because he is apt to hold back too hard, being afraid of bumping into his partner, and so he doesn't get send enough, and falls short of his mark. "But all slopes are bad for us," he said, "and we try hard to get our things put up over level ground." This is but one instance of the jealous care shown by acrobats for their bars and rigging. These things belong not to the circus, but to the individual performers, who put every brace and knot to the severest test. For the high bars a particular kind of hickory is used with a core of steel inside. Every mesh of the net must resist a certain strain. The bars themselves must be neither too dry nor too moist. The light must come in a certain way, and a dozen other things. Many an accident has come through the failure of some little thing. This much is certain, that acrobats often suffer without serious injury falls that would put an end to ordinary men. Like bareback riders, they know how to fall, this art consisting chiefly in "tucking up" into a ball and hardening the muscles so that the shock is eased. Also they have by practice acquired the power of deciding instantly how to make the body protect itself in an emergency. "Now," said Ryan, "I'll give you a case where two of us did some quick thinking, and it helped a lot. We were with a circus in Australia, making a night run. It was somewhere in New South Wales, and every man was asleep in his bunk. First thing we knew, bang, rip, tear! a drowsy engineer had smashed into us and taken the rear truck of our sleeper clean off, and there were the floor timbers of our car bumping along over the ties. We had the last car. "Our engineer never slowed up, and our floor was going into kindling-wood fast. It was as dark as pitch, and nobody said a word. Fred Reynolds and I—Reynolds was a clown acrobat—had lower berths right at the end, next to the negro porter, and I don't say we escaped because we were acrobats, but—well, this is what we did. Fred gave one mighty leap, just like going over elephants, and cleared the whole trail of wreckage that was pounding along behind the car and landed safe on the track. It was a crazy thing to do, in my opinion, but it worked. I made a spring for the chandelier, and hung there until the train stopped. And afterward I found my trousers back on the road-bed with the legs cut clean off, and I guess my own legs would have gone the same way if they'd been there. What did the porter do? Oh, he did nothing, and—and he was killed." <div style="break-after:column;"></div>

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