WEBVTT

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It's been Heard Round the World, presented by the DuPont Company, makers of better things,

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for better living through chemistry.

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With Donald Crisp as Judge Henry French, here is Heard Round the World, time 1875.

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This is Concord, Massachusetts, by the rustic bridge across the Concord River.

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Look at that pack of people.

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Look at them on both sides of the bridge.

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Cover the meadows too, stretching way down the river in both.

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There's a fight.

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Take your hands off me.

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I'm going across that bridge.

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It's been just right.

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Mister, you're not going across that bridge.

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Step aside, Captain.

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No one is allowed across the bridge till the statue is unveiled.

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The governor's, congressman, judges, and foreign portentates are allowed.

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Now does that describe you?

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It does.

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I am Patrick Harrington, handyman extraordinary to his honor, Judge Henry French.

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That's enough out of you.

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Get back now.

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Back.

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Judge French, Judge French.

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Here's his honor.

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Now he'll tell you he'll fix it.

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What's all the commotion about?

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Why, Judge, this man was trying to...

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Your honor, do I or don't I deserve to cross the bridge?

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You certainly do, Patrick.

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Captain, since I'm here taking my son's place, you understand, of course, that my son was

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the sculptor of this statue.

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But he is now studying in Italy and I've been chosen to take his place at the ceremony.

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Well, that's all right.

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So go right ahead.

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Well, now, if I take my son's place, that means my place is empty.

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Exactly, your honor.

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Well, now, just a minute, Judge.

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Therefore, I will appoint my handyman Patrick to fill my empty place.

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Will you follow me, Captain?

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Well, now...

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Now that I believe is all quite regular, especially as Patrick's strong right arm was used as

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a model for this statue of the minute man.

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Good afternoon, Captain.

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Come along, Patrick.

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Come along.

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Mr. Ralph Waldo Emerson will now deliver an address.

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Thank you very kindly, your honor, for sneaking me in.

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Well, you deserve it.

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We have gathered here in Great Concourse to dedicate this memorial to the minute men who

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stood in this same green field and by this calm river stood and died for us a hundred

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years ago today.

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When it was first my privilege to act on the committee to select this statue, I suggested

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that we send an emissary...

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Yes, my son's statue.

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It will be in the school books.

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Even I'll be in the school books because I'm the father of Daniel Chester French.

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Yes, but I feel dishonest.

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I doubted my own son.

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Watching the boy grow up, I always doubted him.

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Even five years ago, I doubted him.

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I remember one evening when I'd sent for him...

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Come!

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Henry, why have you asked Dan to come to the study?

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Because, my dear, I think a very direct talk is most decidedly indicated.

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But he's the fourth child, Henry.

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You can't judge him by the others.

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I'm judging him by his brother, Will.

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Will is six years older.

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Please come in and shut the door.

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Yes, dear.

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When Will was Dan's age, he was one of the most brilliant students Arvid ever had.

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Now, is Dan at Harvard?

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I'm asking you, is Dan at Harvard?

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No, dear, he isn't.

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Well, you think he ever will be?

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Well, that's difficult to say, but at least he's happy here working on the farm.

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Do you think there is the remotest chance of our youngest child ever engaging in any

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form of intellectual activity higher than that of a rustic?

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Oh, here's Dan now.

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Now, Henry, please don't be too severe.

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Come in.

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Did you send for me, Father?

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I did, son.

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What have you been doing today?

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Cutting asparagus.

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Did it ever occur to you that there might possibly be some more productive form of enterprise?

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Yes, Father.

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Well, now, that's very encouraging.

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What were you thinking of?

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I was thinking that I should work on the strawberries.

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Now, Daniel.

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Yes, sir?

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When we moved to Concord, we came partly to be near Boston in my law office.

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Mainly, we came to give our children the advantage of growing up in a community where education

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and culture are bound.

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Yes, sir.

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Now, I may be in error, son, but I've always believed that ideas could be communicated.

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Yes, Father, I think you're right.

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Now, would you, son, tell us any ideas you might have received during these years we've

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been here in Concord?

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I don't know, Father.

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I like it here.

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I like the birds.

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I like the river.

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I like to walk by Walden Pond.

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Are those ideas?

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Oh, dear Lord.

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Henry, may I make a suggestion?

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Under the circumstances, I think anything would be welcome.

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Well, Dan might read more if he didn't work quite so much on the farm.

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Well, I see.

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All right.

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What books do you think you might read, Dan, if we shortened your labor?

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I don't rightly know, Father.

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Well, suppose we gave you the afternoons free.

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What would you care most to do?

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Should I answer honestly, sir?

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By all means.

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If I had my afternoons free, Father, I'd care most to walk out with the girls.

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Oh, what a wrong question.

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Daniel, what your father's trying to say is what would you...

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I'm asking you, what are you going to do with your life?

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You are now 19.

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What will you do?

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Well, Father, I haven't quite decided.

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I...

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Would you like to work in my office as a petty clerk?

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No, thank you, Father.

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Or a messenger.

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That would keep you outdoors.

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Yes, but it would be outdoors in a city, Father, and that isn't outdoors.

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Would you perhaps be interested in shipping before the mass like that Dana boy did?

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No, Father.

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Then what, my dear flesh and blood, would you care to do?

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Father, do you figure I earn my keep working with Patrick here on the farm?

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I certainly do.

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Then Father, I'd just like to keep on earning my keep.

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That boy would have driven a saint to distraction.

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As I look back, I realize I wasn't all my fault.

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I did everything I could.

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I tried to interest him in something.

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I left books around.

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I took him to the Old Cots to tea.

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I took him to the Emersons, the Hawthorns.

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And finally, in the middle of one Sunday night, I gave up.

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Pamela?

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Yes?

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You asleep?

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No, dear.

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What's troubling you?

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From this moment forward, I wash my hands of Dan.

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Oh, Henry.

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It isn't that he's a troublesome son.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He's a good boy.

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He goes on good and he's a good boy.

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He goes on good and he's honest.

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He's

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I can't help thinking of a commonplace son.

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He might be an artist.

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What could possibly have put that into your head?

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Oh, I think he draws a little.

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Dan Draw?

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He draws a plow and no more.

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Once I found some pieces of brown wrapping paper on his bed.

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Where?

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They were covered with drawings of gods and goddesses.

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How did they look?

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I confess I didn't frame them.

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It's exactly as I thought.

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Why don't I try having a talk with Dan tomorrow?

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Try, my dear, if you want to.

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But I give up. I honestly give up.

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Dan?

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Dan, are you in the barn?

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No, Mom, it's me, Patrick. Dan ain't here, Mrs. French.

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Oh, I thought he was out here bundling asparagus with you, Patrick.

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Oh, the boy was working hard, Mrs. French.

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But then he started glancing up at that pile of turnips over there.

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Well, he knew his father wanted everything bundled before dark, didn't he?

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Yes, but he keeps looking up at a great round white turnip on the top of the pile.

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About an hour later, without a word, up he gets, goes over to the pile, takes that turnip,

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heads out the barn door and way across the field, out of sight down by the river.

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Well, Patrick, didn't you say anything? Didn't you ask him what was wrong?

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No, ma'am. I just figured he was took with a longing for turnip.

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Oh, Patrick, I have to ask you a question about Dan.

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Yes, of course, ma'am.

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Now, you work with him all day. You see more of him than we do.

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What do you think of the boy?

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He's not lazy, Mrs. French, if that's what you mean.

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Nor certain he'll sweat it out with anima.

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His father keeps saying if he'd only leave in the evenings to better himself, he just sits.

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Well, now, he does sit every chance he gets. There's no denying that.

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Now, take every evening this week. He's been sitting out here with me,

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watching two owls in the hemlock tree.

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The judge says Dan hasn't a thought in his head.

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I don't know what he's got in his head, ma'am, but he's got a fine pair of hands.

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Did you see the job he did mending the harness?

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No.

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Oh, ma'am, I tell you, watching that boy's fingers go is a pleasure, like watching a family of fish.

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Pat! Pat, I did it! I've got something! I did it!

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Oh, mother, look. Look what I found inside the turnip.

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But, Dan, you carved that frog out of a turnip?

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Oh, the saint. It is a frog.

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Do you like it?

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The fanciest frog I ever saw.

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In pants and tailcoat. It's a frog that's going a-wooing.

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Do you like it, mother?

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Oh, Dan, it's a beautifully beautiful frog.

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He seems to be hopping right at me.

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I thought that, too. He seemed to be hopping at me right out of that turnip.

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You are listening to Heard Round the World, starring Donald Crisp on the cavalcade of America,

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presented by the DuPont Company, makers of better things for better living through chemistry.

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On April 18, 1875, in Concord, Massachusetts, before thousands of people,

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the statue of the Minuteman is about to be unveiled.

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As Ralph Waldo Emerson is speaking, Judge Henry French, the sculptor's father,

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thinks back to the time when he first had a hint there was a sculptor in his son,

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and he tried to help.

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Dan, will you have more stew?

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What's that big bundle on the sideboard?

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Daniel?

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Yes, sir?

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Last night, after your mother showed me that piece of turnip,

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and after you went up to bed, she asked me what I was going to do about it.

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Yes, Father?

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Well, at the time, I didn't know exactly what she meant

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or what I could do about the turnip if I knew what she meant.

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But then on the train into the office this morning, I started thinking about this and that,

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and again during the day, I thought a bit further.

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How do you mean, Father?

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Well, that is, of course, I didn't think about it during working hours,

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because I always keep my mind on my work during working hours.

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Oh, yes, Father.

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But during luncheon, I recollected a little shop on Bromfield Street

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that I once saw with paints and brushes in the window.

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Eat your dumpling, Dan.

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So when I left the office, I stopped on the way to the depot,

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and I asked the shopkeeper if there was any special material

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that could be used by someone who might be inclined to make or shape

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small ornamental objects out of one thing or another with his hands.

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Eat your dumpling, dear, it's getting cold.

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He said, yes, there was.

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With that, he sold me ten pounds of what is called modeling clay.

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Father.

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And that is what is in that bundle that now rests on the sideboard.

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Oh, Father.

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From then on, all his spare time, Dan stayed in his room.

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He made a lot of little things out of the clay.

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Even then, I doubted him.

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But one of our neighbors, Mae Alcott, was a professional sculptor.

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She had just returned from studying abroad.

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So I asked Mrs. French to go to her for advice.

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Yoo-hoo, Mr. Alcott!

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Hello there, Mrs. French. We're all out here in the garden.

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Good afternoon, Mr. Alcott.

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Join us for tea. Tony, Louise, and me.

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Oh, thank you. I can't stay.

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Oh, come along, Pamela. Do join us.

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We're reading Louise's mail.

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Everybody, every day there's someone who wants to know

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when the little women will get their little men.

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Oh, please sit down, Pamela. Here now.

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Milk or lemon?

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Or a clove.

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No, no, thank you.

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Or half a clove.

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May I cleave you a clove?

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Nothing. I can't stay, really.

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But I must have two words with Mae.

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Yes, I think she's in her studio.

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Mae!

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Mrs. French, if you look up at the third-floor window,

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my daughter Mae will any moment now thrust out her head.

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Mae Alcott!

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What, Father?

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Oh, hello, Pamela. I'm filthy and sticky,

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and you can't come up, and I won't come down.

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Well, Mae, I've come for advice.

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Well, I hear wonderful gossip of your boy Dan.

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Is it true, is he talented?

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Well, he's made a dog's head, and he's made two owls and a deer.

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Send him around.

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Well, his father doesn't think he should be further encouraged,

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unless his talent is genuine.

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Well, have Dan bring his stuff over.

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Good. Then you can say what you think.

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Don't worry, I will. I'll say exactly what I think.

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There's my dog, Miss Mae, and...

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Mm-hmm.

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Uh, here's two owls.

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Well.

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And, uh, there's my deer.

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Fine.

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Let's put them around this way, Dan, where the light can hit them.

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All right.

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Oh, uh, this is a panther. I haven't finished it yet.

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Yes.

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Its legs are wobbly. It needs an armature.

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A what? An armature?

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A skeleton, a little skeleton of stiff wire, a small pipe.

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That keeps it strong and straight.

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Ah. Then you build the clay around that.

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That's right.

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Uh-huh.

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I like that pair of owls, Dan.

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I like that best, too.

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Do owls have such beautiful faces?

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Oh, yes, Miss Mae. I think they do, in the evening.

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That... that wing outstretched, it's wonderful.

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That pair of owls was in our hemlock tree.

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Every evening after supper, he used to put one foot on hers,

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and then his wing around her like that.

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He was courting.

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Can you tell that?

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Of course you've caught it, Dan.

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I've tried to.

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You have.

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I don't know. I don't know.

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Dan, if you want to, you can come here to my studio every day.

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I'll teach you all I can.

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Do you think I could learn?

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I'm not very bright, you know, and I disappoint people.

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I've always disappointed my father.

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Dan, I can tell it from your hands and from your heart.

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You know what can't be taught, and what can be taught, I'll teach you.

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And when I can't teach you any more, then you'll go to Boston,

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then New York, then Rome.

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Rome? Italy.

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Do you want to work with me, Dan?

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Will you start tomorrow?

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If I can just run now and tell my father,

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I'd like to come back here and start tonight.

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The days after that were the happiest of my life.

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We used to ride to Boston together.

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I went to my law office.

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Dan went to Dr. Rimmer's class in artistic anatomy for surgeons and sculptors.

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This went on for some time.

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Then one night as we rode home on the train together...

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Father.

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Yes, son?

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I've come to a decision.

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Yes?

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There's no art school in Boston.

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I've learned all I can from Dr. Rimmer.

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I want to go to New York.

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Well, do you think you're ready?

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Dr. Rimmer does.

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And my little animal figures won a prize at the cattle show.

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And I sold the two owls for $50 to that novelty manufacturer.

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Where would you study in New York?

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Oh, there's a real sculptor there.

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He has a studio right on Central Park.

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I think he'd take me for a month or two.

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Young man, you seem rather well informed.

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And I can live for nothing in Brooklyn.

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I've already written my Aunt Catherine Wells, and she'll take me.

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And she knows the sculptor.

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Do you consent, sir?

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Can I do anything else?

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So Dan went to New York.

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Learned all about calipers and castings and all the endless mechanical work that makes the sculptor's discipline.

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Then one night at supper after his return, the...

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Read the paper tonight, Dan?

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I did, Mother.

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You see what it said about a statue competition?

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No, no, I didn't, sir.

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Old Ebenezer Hubbard has left $1,000 to erect a memorial to the minutemen at Concord Bridge.

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Mother, may I have some more shad?

17:54.520 --> 17:55.520
Yes, dear.

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Did you hear me, Dan?

17:56.520 --> 17:57.520
Yes, sir.

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There's been a committee chosen to choose it.

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Mr. Emerson is one of the members.

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Some more potatoes, too, please.

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Now, I happened on Mr. Emerson today.

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I'm really hungry.

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I plowed up five acres today.

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Dan, your father wants to tell you about Mr. Emerson.

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Oh, I'm sorry, Dad.

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He informed me that small clay models would be invited from various sculptors of the nation.

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And from these, the committee would select the best to be made life-size and then cast into bronze.

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I wondered how they might go about it.

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Well, your interest seems remarkable.

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We listen, Shad Henry.

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Dan, have you any thought to make such a model?

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No, sir.

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Well, may I ask what restrains you?

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My own limitations.

18:43.520 --> 18:45.520
What?

18:45.520 --> 18:47.520
Father, this is for professionals.

18:47.520 --> 18:48.520
Well, what are you?

18:48.520 --> 18:50.520
You sold that pair of owls for $50.

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But I'm only beginning. I never tried anything in bronze.

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I've never made a full-length figure.

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Then it's high time you did.

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No son of mine is going to spend his entire life playing with mud and making midgets.

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Oh, please, Henry.

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I tell you, at high time, that boy buckles down to a full-sized man.

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Henry, please have some shad.

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I'm waiting for your reply, Daniel.

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But, Father, this is hard.

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The Minuteman has to be more than a statue.

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It has to stand for something.

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Give me some shad.

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All right, dear.

19:21.520 --> 19:24.520
Now, Daniel Chester French.

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Yes, Father.

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I shall expect you to have something to submit to that committee within six months.

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But, Father, owls are owls and a deer is a deer.

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But I don't know how to start on a man.

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You'll do exactly as May Olcott said.

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First you draw. You draw a Minuteman.

19:40.520 --> 19:41.520
Then you draw another.

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You draw Minutemen standing up.

19:44.520 --> 19:49.520
You draw them sitting down or running or firing or crouched behind a stone wall

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or standing by a plow or leaving a plow.

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His sleeves rolled up, his sleeves rolled down with his musket, without his musket.

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You follow me?

19:56.520 --> 19:58.520
Henry, your shad is getting cold.

19:58.520 --> 20:02.520
Then you do it all, all over again in little clay models.

20:02.520 --> 20:04.520
You will cover your table with models.

20:04.520 --> 20:07.520
You will cover your bookshelves and your washstand.

20:07.520 --> 20:11.520
When your windowsill is stacked with them, we will give you your brother Will's room.

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When six months have elapsed and the house is stacked with clay models,

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you will then select your best model in consultation with your mother and me, of course.

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And you will convey that model to the committee.

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They at one glance will decide that it is the best possible Minuteman

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and, without further delay, commission you to recreate it life-size and have it cast in bronze.

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Do you consent, sir?

20:37.520 --> 20:40.520
Yes, Father. I do.

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And that's what happened.

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That's why I'm here today taking my son's place, because he's away studying in Italy.

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Your Honor, Your Honor!

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What?

21:00.520 --> 21:04.520
The unveiling is about to take place. Look now.

21:04.520 --> 21:06.520
We shall never debase ourselves.

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And now let the silken cord be pulled and let the statue face the world.

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Oh, look! Oh, look at that now, Your Honor!

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As we face the Minuteman in this clear April air, let us remember what he stands for.

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Sleeves rolled up, clutching vigilantly his musket in the defense of American freedom.

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Let us remember what happened here, as these verses carved on the base of the statue say,

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By the rude bridge that arched the flood, their flag to April's breeze unfurled, Here once embattled farmers stood,

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And fired the shot heard round the world.

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What?

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They're all leaving now, Judge. So, shall we be going home with the rest?

22:55.520 --> 23:18.520
No, you, you just go on, Patrick. I want to be alone here for a while with just the statue.

23:18.520 --> 23:41.520
In just a moment, we have a surprise for you.

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Now, our surprise. Here is the only daughter of Daniel Chester French, the sculptor whose story we brought on you,

23:48.520 --> 23:56.520
we brought you tonight, rather, on tonight's Cavalcade. Mrs. Margaret French Cresson, an author and a sculptor in her own right.

23:56.520 --> 24:03.520
Thank you, Mr. Pearson. I think Cavalcade's audience will be interested in this footnote to tonight's story.

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Fifteen years from the time my father started his sketches for the Minuteman in Concord,

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another great statue of his was unveiled on Memorial Day 1922,

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the statue of another American defender of liberty which can be seen in another hallowed American shrine,

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the statue of Abraham Lincoln in the Lincoln Memorial in Washington.

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Well, Mrs. Cresson, those fifty years represent one of America's most distinguished careers in sculpture.

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Thank you, Mrs. Cresson, for being with us on tonight's Cavalcade.

24:39.520 --> 24:45.520
Tonight's original Cavalcade play, Heard Round the World, starring Donald Crisp, was written by Halstead Wells,

24:45.520 --> 24:50.520
was adapted from the book Journey into Fame, published by the Harvard University Press,

24:50.520 --> 24:57.520
and was written by Margaret French Cresson. Featured tonight with Mr. Crisp in the cast was Elliot Reed as Dan.

24:57.520 --> 25:02.520
Donald Crisp may currently be seen in the Paramount Pictures production, Whispering Smith.

25:02.520 --> 25:07.520
The music for the DuPont Cavalcade is composed by Arden Cornwell, conducted by Donald Borees.

25:07.520 --> 25:10.520
This is Ted Pearson speaking.

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Next week, Cavalcade will present the dynamic and dazzling Hollywood star Ginger Rogers.

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Our play is set in Philadelphia during the Revolutionary War when a beautiful woman named Lydia Dara

25:20.520 --> 25:25.520
outwitted a British colonel and came to the aid of General Washington and the American troops.

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Be sure to listen next Monday night to Cavalcade, and our star, Ginger Rogers.

25:29.520 --> 25:32.520
Cavalcade of America is directed by John Zoller.

25:32.520 --> 25:36.520
Comes to you each week from the stage of the Longacre Theatre on Broadway in New York,

25:36.520 --> 25:39.520
and is presented by the DuPont Company of Wilmington, Delaware.

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Applause

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This is NBC, the national broadcasting company.

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Music