When in the midst of his important plays, it is doubtful whether Henry H. Rogers realizes until the guardians of the peace appear where the acting begins and the reality should end. His intimate associates can recall many times when his determination to make a hit in his part has caused other actors cast with him to throw aside their dummy swords and run for their lives.
The entire history of "Standard Oil" is strewn with court-scenes, civil and criminal, and in all the important ones Henry H. Rogers, the actor, will be found doing marvellous "stunts." Standard Oil historians are fond of dwelling on the extraordinary testifying abilities of John D. Rockefeller and other members of the band, but the acrobatic feats of ground and lofty tumbling in the way of truth which they have given when before the blinking footlights of the temples of justice are as Punch-and-Judy shows to a Barnum three-ring circus compared to Henry H. Rogers' exhibitions.
His "I will tell the truth, the whole truth, and nothing but the truth, so help me God," sounds absolutely sincere and honest, but as it rings out in the tone of the third solemnest bell in the chime, this is how it is taken down in the unerring short-hand notes of the recording angel and sent by special wireless to the typewriter for His Majesty of the Sulphur Trust: "What I tell shall be the truth and the whole truth, and there shall be no truth but that I tell, and God help the man or woman who tells truth different from my truth." The recording angel never missed catching Henry H. Rogers' court-oaths in this way, and never missed sending them along to the typewriter at Sulphurville, with this postscript: "Keep your wire open, for there'll be things doing now!"
At the recent but now famous sensational Boston "Gas Trial," Henry H. Rogers in the rôle of defendant was the principal witness. I was in court five hours and a half each sitting as day after day he testified. I watched, as the brightest lawyers in the land laid their traps for him in direct and