Struggles and Triumphs - P. T. Barnum (top 20 books to read txt) 📗

for they were novel and caught the attention of readers. Thus was the fame of the Museum, as well as the mermaid, wafted from one end of the land to the other. I was careful to keep up the excitement, for I knew that every dollar sown in advertising would return in tens, and perhaps hundreds, in a future harvest, and after obtaining all the notoriety possible by advertising and by exhibiting the mermaid at the Museum, I sent the curiosity throughout the country, directing my agent to everywhere advertise it as “From Barnum’s Great American Museum, New York.” The effect was immediately felt; money flowed in rapidly and was readily expended in more advertising.

While I expended money liberally for attractions for the inside of my Museum, and bought or hired everything curious or rare which was offered or could be found, I was prodigal in my outlays to arrest or arouse public attention. When I became proprietor of the establishment, there were only the words: “American Museum,” to indicate the character of the concern; there was no bustle or activity about the place; no posters to announce what was to be seen;⁠—the whole exterior was as dead as the skeletons and stuffed skins within. My experiences had taught me the advantages of advertising. I printed whole columns in the papers, setting forth the wonders of my establishment. Old “fogies” opened their eyes in amazement at a man who could expend hundreds of dollars in announcing a show of “stuffed monkey skins”; but these same old fogies paid their quarters, nevertheless, and when they saw the curiosities and novelties in the Museum halls, they, like all other visitors, were astonished as well as pleased, and went home and told their friends and neighbors and thus assisted in advertising my business.

For other and not less effective advertising⁠—flags and banners, began to adorn the exterior of the building. I kept a band of music on the front balcony and announced “Free Music for the Million.” People said, “Well, that Barnum is a liberal fellow to give us music for nothing,” and they flocked down to hear my outdoor free concerts. But I took pains to select and maintain the poorest band I could find⁠—one whose discordant notes would drive the crowd into the Museum, out of earshot of my outside orchestra. Of course, the music was poor. When people expect to get “something for nothing” they are sure to be cheated, and generally deserve to be, and so, no doubt, some of my outdoor patrons were sorely disappointed; but when they came inside and paid to be amused and instructed, I took care to see that they not only received the full worth of their money, but were more than satisfied. Powerful Drummond lights were placed at the top of the Museum, which, in the darkest night, threw a flood of light up and down Broadway, from the Battery to Niblo’s, that would enable one to read a newspaper in the street. These were the first Drummond lights ever seen in New York, and they made people talk, and so advertise my Museum.

IX The Road to Riches

The Most Popular Place of Amusement in the World⁠—The Moral Drama⁠—Reforming the Abuses of the Stage⁠—Famous Actors and Actresses at the Museum⁠—Adding to the Saloons⁠—Afternoon and Holiday Performances⁠—Fourth of July Flags⁠—The Museum Connected with St. Paul’s⁠—Victory Over the Vestrymen⁠—The Egress⁠—St. Patrick’s Day in the Morning⁠—A Wonderful Animal, the “Aigress”⁠—Inpouring of Money⁠—Zoological Eruption⁠—The City Astounded⁠—Baby Shows, and Their Object⁠—Flower, Bird, Dog and Poultry Shows⁠—Grand Free Buffalo Hunt in Hoboken⁠—N. P. Willis⁠—The Woolly Horse⁠—Where He Came From⁠—Colonel Benton Beaten⁠—Purpose of the Exhibition⁠—American Indians⁠—P. T. Barnum Exhibited⁠—A Curious Spinster⁠—The Touching Story of Charlotte Temple⁠—Services in the Lecture Room⁠—A Financial View of the Museum⁠—An “Awful Rich Man.”

The American Museum was the ladder by which I rose to fortune. Whenever I cross Broadway at the head of Vesey Street, and see the Herald building and that gorgeous pile, the Park Bank, my mind’s eye recalls that less solid, more showy edifice which once occupied the site and was covered with pictures of all manner of beasts, birds and creeping things, and in which were treasures that brought treasures and notoriety and pleasant hours to me. The Jenny Lind enterprise was more audacious, more immediately remunerative, and I remember it with a pride which I do not attempt to conceal; but instinctively I often go back and live over again the old days of my struggles and triumphs in the American Museum.

The Museum was always open at sunrise, and this was so well known throughout the country that strangers coming to the city would often take a tour through my halls before going to breakfast or to their hotels. I do not believe there was ever a more truly popular place of amusement. I frequently compared the annual number of visitors with the number officially reported as visiting (free of charge), the British Museum in London, and my list was invariably the larger. Nor do I believe that any man or manager ever labored more industriously to please his patrons. I furnished the most attractive exhibitions which money could procure; I abolished all vulgarity and profanity from the stage, and I prided myself upon the fact that parents and children could attend the dramatic performances in the so-called Lecture Room, and not be shocked or offended by anything they might see or hear; I introduced the “Moral Drama,” producing such plays as “The Drunkard,” “Uncle Tom’s Cabin,” “Moses in Egypt,” “Joseph and His Brethren,” and occasional spectacular melodramas produced with great care and at considerable outlay.

Mr. Sothern, who has since attained such widespread celebrity at home and abroad as a character actor, was a member of my dramatic company for one or two seasons. Mr. Barney Williams also began his theatrical career at the Museum, occupying, at first, quite a subordinate position, at a salary of ten dollars a week. During the past twelve or fifteen