![INCOSE Systems Engineering Handbook: A Guide for System Life Cycle Processes and Activities, Fourth Edition.
Edited by David D. Walden, Garry J. Roedler, Kevin J. Forsberg, R. Douglas Hamelin and Thomas M. Shortell.
© 2015 John Wiley Sons, Inc. Published 2015 by John Wiley Sons, Inc.
5
2.1 Introduction
This chapter offers a brief overview of the systems
engineering (SE) discipline, beginning with a few key
definitions, an abbreviated survey of the origins of the
discipline, and discussions on the value of applying SE.
Other concepts, such as systems science, systems thinking,
SE leadership, SE ethics, and professional development,
are also introduced.
2.2 Definitions and Concepts
of a System
While the concepts of a system can generally be traced
back to early Western philosophy and later to science,
the concept most familiar to systems engineers is often
traced to Ludwig von Bertalanffy (1950, 1968) in which
a system is regarded as a “whole” consisting of interact
ing “parts.” The ISO/IEC/IEEE definitions provided in
this handbook draw from this concept.
2.2.1 General System Concepts
The systems considered in ISO/IEC/IEEE 15288 and in
this handbook
[5.2.1] … are man‐made, created and utilized to provide
products or services in defined environments for the
benefit of users and other stakeholders.
The definitions cited here and in Appendix C refer to
systems in the real world. A system concept should be
regarded as a shared “mental representation” of the
actual system. The systems engineer must continually
distinguish between systems in the real world and system
representations. The INCOSE and ISO/IEC/IEEE defini
tions draw from this view of a system:
… an integrated set of elements, subsystems, or assem
blies that accomplish a defined objective. These elements
include products (hardware, software, firmware), processes,
people, information, techniques, facilities, services, and
other support elements. (INCOSE)
[4.1.46] … combination of interacting elements orga
nized to achieve one or more stated purposes. (ISO/IEC/
IEEE 15288)
Thus, the usage of terminology throughout this hand
book is clearly an elaboration of the fundamental idea
that a system is a purposeful whole that consists of inter
acting parts.
Systems Engineering Overview
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INCOSE Systems Engineering Handbook A Guide for System Life Cycle Processes and Activities 4th Edition Incose
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- 5. INCOSE Systems Engineering Handbook A Guide for System Life Cycle Processes and Activities 4th Edition Incose Digital Instant Download Author(s): INCOSE ISBN(s): 9781118999400, 1118999401 Edition: 4 File Details: PDF, 9.73 MB Year: 2015 Language: english
- 10. SYSTEMS ENGINEERING HANDBOOK A GUIDE FOR SYSTEM LIFE CYCLE PROCESSES AND ACTIVITIES FOURTH EDITION INCOSE-TP-2003-002-04 2015 Prepared by: International Council on Systems Engineering (INCOSE) 7670 Opportunity Rd, Suite 220 San Diego, CA, USA 92111‐2222 Compiled and Edited by: David D. Walden, ESEP Garry J. Roedler, ESEP Kevin J. Forsberg, ESEP R. Douglas Hamelin Thomas M. Shortell, CSEP
- 11. Copyright © 2015 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per‐copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, (978) 750‐8400, fax (978) 750‐4470, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748‐6011, fax (201) 748‐6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor author shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. For general information on our other products and services or for technical support, please contact our Customer Care Department within the United States at (800) 762‐2974, outside the United States at (317) 572‐3993 or fax (317) 572‐4002. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic formats. For more information about Wiley products, visit our web site at www.wiley.com. Library of Congress Cataloging‐in‐Publication Data: Systems engineering handbook : a guide for system life cycle processes and activities / prepared by International Council on Systems Engineering (INCOSE) ; compiled and edited by, David D. Walden, ESEP, Garry J. Roedler, ESEP, Kevin J. Forsberg, ESEP, R. Douglas Hamelin, Thomas M. Shortell, CSEP. – 4th edition. pages cm Includes bibliographical references and index. ISBN 978-1-118-99940-0 (cloth) 1. Systems engineering–Handbooks, manuals, etc. 2. Product life cycle–Handbooks, manuals, etc. I. Walden, David D., editor. II. Roedler, Garry J., editor. III. Forsberg, Kevin, editor. IV. Hamelin, R. Douglas, editor. V. Shortell, Thomas M., editor. VI. International Council on Systems Engineering. TA168.S8724 2015 620.001′1–dc23 2014039630 ISBN: 9781118999400 Set in 10/12pt Times LT Std by SPi Publisher Services, pondicherry, India Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 1 2015
- 12. v Incose Notices vii History of Changes viii Prefaceix List of Figures x List of Tables xii 1 Systems Engineering Handbook Scope 1 1.1 Purpose 1 1.2 Application 1 1.3 Contents 1 1.4 Format 3 1.5 Definitions of Frequently Used Terms 4 2 Systems Engineering Overview 5 2.1 Introduction 5 2.2 Definitions and Concepts of a System 5 2.3 The Hierarchy within a System 7 2.4 Definition of Systems of Systems 8 2.5 Enabling Systems 10 2.6 Definition of Systems Engineering 11 2.7 Origins and Evolution of Systems Engineering 12 2.8 Use and Value of Systems Engineering 13 2.9 Systems Science and Systems Thinking 17 2.10 Systems Engineering Leadership 21 2.11 Systems Engineering Professional Development22 3 Generic Life Cycle Stages 25 3.1 Introduction 25 3.2 Life Cycle Characteristics 26 3.3 Life Cycle Stages 27 3.4 Life Cycle Approaches 32 3.5 What Is Best for Your Organization, Project, or Team? 36 3.6 Introduction to Case Studies 39 4 Technical Processes 47 4.1 Business or Mission Analysis Process49 4.2 Stakeholder Needs and Requirements Definition Process 52 4.3 System Requirements Definition Process57 4.4 Architecture Definition Process64 4.5 Design Definition Process 70 4.6 System Analysis Process 74 4.7 Implementation Process 77 4.8 Integration Process 79 4.9 Verification Process 83 4.10 Transition Process 88 4.11 Validation Process 89 4.12 Operation Process 95 4.13 Maintenance Process 97 4.14 Disposal Process 101 contentS
- 13. vi contentS 5 Technical Management Processes 104 5.1 Project Planning Process 104 5.2 Project Assessment and Control Process108 5.3 Decision Management Process 110 5.4 Risk Management Process 114 5.5 Configuration Management Process 122 5.6 Information Management Process 128 5.7 Measurement Process 130 5.8 Quality Assurance Process 135 6 Agreement Processes 139 6.1 Acquisition Process 140 6.2 Supply Process 142 7 Organizational Project‐Enabling Processes 145 7.1 Life Cycle Model Management Process 145 7.2 Infrastructure Management Process 149 7.3 Portfolio Management Process 151 7.4 Human Resource Management Process 154 7.5 Quality Management Process 156 7.6 Knowledge Management Process 158 8 Tailoring process and Application of Systems Engineering 162 8.1 Tailoring Process 163 8.2 Tailoring for Specific Product Sector or Domain Application 165 8.3 Application of Systems Engineering for Product Line Management 170 8.4 Application of Systems Engineering for Services 171 8.5 Application of Systems Engineering for Enterprises 175 8.6 Application of Systems Engineering for Very Small and Micro Enterprises 179 9 Cross‐Cutting Systems Engineering Methods180 9.1 Modeling and Simulation 180 9.2 Model‐Based Systems Engineering 189 9.3 Functions‐Based Systems Engineering Method190 9.4 Object‐Oriented Systems Engineering Method 193 9.5 Prototyping 197 9.6 Interface Management 197 9.7 Integrated Product and Process Development199 9.8 Lean Systems Engineering 203 9.9 Agile Systems Engineering 207 10 Specialty Engineering Activities 211 10.1 Affordability/Cost‐Effectiveness/ Life Cycle Cost Analysis 211 10.2 Electromagnetic Compatibility 219 10.3 Environmental Engineering/Impact Analysis220 10.4 Interoperability Analysis 221 10.5 Logistics Engineering 222 10.6 Manufacturing and Producibility Analysis225 10.7 Mass Properties Engineering 225 10.8 Reliability, Availability, and Maintainability226 10.9 Resilience Engineering 229 10.10 System Safety Engineering 231 10.11 System Security Engineering 234 10.12 Training Needs Analysis 237 10.13 Usability Analysis/Human Systems Integration237 10.14 Value Engineering 241 Appendix A: References 246 Appendix B: Acronyms 257 Appendix C: Terms and Definitions 261 Appendix D: N2 Diagram of Systems Engineering Processes 267 Appendix E: Input/Output Descriptions 269 Appendix F: Acknowledgements 284 Appendix G: Comment Form 286 Index287
- 14. vii INCOSE Notices This International Council on Systems Engineering (INCOSE) Technical Product was prepared by the INCOSE Knowledge Management working group. It is approved by INCOSE Technical Operations Leadership for release as an INCOSE Technical Product. Copyright ©2015 by INCOSE, subject to the follow- ing restrictions: Author Use: Authors have full rights to use their con- tributions unfettered, with credit to the INCOSE technical source, except as noted in the following text. Abstraction is permitted with credit to the source. INCOSE Use: Permission to reproduce and use this document or parts thereof by members of INCOSE and to prepare derivative works from this document for INCOSE use is granted, with attribution to INCOSE and the original author(s) where practical, provided this copy- right notice is included with all reproductions and derivative works. Content from ISO/IEC/IEEE 15288 and ISO/IEC TR 24748‐1 is used by permission, and is not to be reproduced other than as part of this total document. External Use: This document may not be shared or distributed to any non‐INCOSE third party. Requests for permission to reproduce this document in whole or in part, or to prepare derivative works of this document for external and/or commercial use, will be denied unless covered by other formal agreements with INCOSE. Copying, scanning, retyping, or any other form of reproduction or use of the content of whole pages or source documents are prohibited, except as approved by the INCOSE Administrative Office, 7670 Opportunity Road, Suite 220, San Diego, CA 92111‐2222, USA. Electronic Version Use: All electronic versions (e.g., eBook, PDF) of this document are to be used for personal professional use only and are not to be placed on non‐ INCOSE sponsored servers for general use. Any addi- tional use of these materials must have written approval from the INCOSE Administrative Office. INCOSE Corporate Advisory Board Use: INCOSE has granted permission to member organizations of the INCOSE Corporate Advisory Board (CAB) to post an electronic (PDF) version of this document on their internal servers for use by their employees, subject to the external use restrictions noted earlier. Additional use of this document by CAB organizations for internal pur- poses is permitted per INCOSE policy CAB‐100. Notice: Hardcopy versions of this document may not be the most current. The current approved version is always the electronic version posted on the Product Area of the INCOSE website. General Citation Guidelines: References to this hand- book should be formatted as follows, with appropriate adjustments for formally recognized styles: INCOSE (2015). Systems Engineering Handbook: A Guide for System Life Cycle Process and Activities (4th ed.). D. D. Walden, G. J. Roedler, K. J. Forsberg, R. D. Hamelin, and, T. M. Shortell (Eds.). San Diego, CA: International Council on Systems Engineering. Published by John Wiley Sons, Inc.
- 15. viii Revision Revision date Change description and rationale Original Jun 1994 Draft Systems Engineering Handbook (SEH) created by INCOSE members from several defense/aerospace companies—including Lockheed, TRW, Northrop Grumman, Ford Aerospace, and the Center for Systems Management—for INCOSE review 1.0 Jan 1998 Initial SEH release approved to update and broaden coverage of SE process. Included broad participation of INCOSE members as authors. Based on Interim Standards EIA 632 and IEEE 1220 2.0 Jul 2000 Expanded coverage on several topics, such as functional analysis. This version was the basis for the development of the Certified Systems Engineering Professional (CSEP) exam 2.0A Jun 2004 Reduced page count of SEH v2 by 25% and reduced the US DoD‐centric material wherever possible. This version was the basis for the first publically offered CSEP exam 3.0 Jun 2006 Significant revision based on ISO/IEC 15288:2002. The intent was to create a country‐ and domain‐neutral handbook. Significantly reduced the page count, with elaboration to be provided in appendices posted online in the INCOSE Product Asset Library (IPAL) 3.1 Aug 2007 Added detail that was not included in SEH v3, mainly in new appendices. This version was the basis for the updated CSEP exam 3.2 Jan 2010 Updated version based on ISO/IEC/IEEE 15288:2008. Significant restructuring of the handbook to consolidate related topics 3.2.1 Jan 2011 Clarified definition material, architectural frameworks, concept of operations references, risk references, and editorial corrections based on ISO/IEC review 3.2.2 Oct 2011 Correction of errata introduced by revision 3.2.1 4.0 Jan 2015 Significant revision based on ISO/IEC/IEEE 15288:2015, inputs from the relevant INCOSE working groups (WGs), and to be consistent with the Guide to the Systems Engineering Body of Knowledge (SEBoK) History of Changes
- 16. ix The objective of the International Council on Systems Engineering (INCOSE) Systems Engineering Handbook (SEH) is to describe key process activities performed by systems engineers. The intended audience is the systems engineering (SE) professional. When the term systems engineer is used in this handbook, it includes the new sys tems engineer, a product engineer or an engineer in another discipline who needs to perform SE, or an experienced systems engineer who needs a convenient reference. The descriptions in this handbook show what each SE process activity entails, in the context of designing for required performance and life cycle considerations. On some projects, a given activity may be performed very informally; on other projects, it may be performed very formally, with interim products under formal configuration control. This document is not intended to advocate any level of formality as necessary or appropriate in all situa tions. The appropriate degree of formality in the execution of any SE process activity is determined by the following: 1. The need for communication of what is being done (across members of a project team, across organi zations, or over time to support future activities) 2. The level of uncertainty 3. The degree of complexity 4. The consequences to human welfare On smaller projects, where the span of required commu nications is small (few people and short project life cycle) and the cost of rework is low, SE activities can be conducted very informally and thus at low cost. On larger projects, where the span of required communications is large (many teams that may span multiple geographic locations and organizations and long project life cycle) and the cost of failure or rework is high, increased for mality can significantly help in achieving project oppor tunities and in mitigating project risk. In a project environment, work necessary to accom plish project objectives is considered “in scope”; all other work is considered “out of scope.” On every project, “thinking” is always “in scope.” Thoughtful tai loring and intelligent application of the SE processes described in this handbook are essential to achieve the proper balance between the risk of missing project technical and business objectives on the one hand and process paralysis on the other hand. Chapter 8 provides tailoring guidelines to help achieve that balance. Approved for SEH v4: Kevin Forsberg, ESEP, Chair, INCOSE Knowledge Manage ment Working Group Garry Roedler, ESEP, Co‐Chair, INCOSE Knowledge Manage ment Working Group William Miller, INCOSE Technical Director (2013–2014) Paul Schreinemakers, INCOSE Technical Director (2015–2016) Quoc Do, INCOSE Associate Director for Technical Review Kenneth Zemrowski, ESEP, INCOSE Assistant Director for Technical Information Preface
- 17. x 1.1. System life cycle processes per ISO/IEC/IEEE 15288 1.2. Sample of IPO diagram for SE processes 2.1. Hierarchy within a system 2.2. Example of the systems and systems of systems within a transport system of systems 2.3. System of interest, its operational environment, and its enabling systems 2.4. Committed life cycle cost against time 2.5. Technology acceleration over the past 140 years 2.6. Project performance versus SE capability 2.7. Cost and schedule overruns correlated with SE effort 2.8. Systems science in context 2.9. SE optimization system 2.10. Professional development system 3.1. Generic business life cycle 3.2. Life cycle model with some of the possible progressions 3.3. Comparisons of life cycle models 3.4. Importance of the concept stage 3.5. Iteration and recursion 3.6. Vee model 3.7. Left side of the Vee model 3.8. Right side of the Vee model 3.9. IID and evolutionary development 3.10. The incremental commitment spiral model (ICSM) 3.11. Phased view of the generic incremental commit- ment spiral model process 4.1. Transformation of needs into requirements 4.2. IPO diagram for business or mission analysis process 4.3. Key SE interactions 4.4. IPO diagram for stakeholder needs and require- ments definition process 4.5. IPO diagram for the system requirements definition process 4.6. IPO diagram for the architecture definition process 4.7. Interface representation 4.8. (a) Initial arrangement of aggregates; (b) final arrangement after reorganization 4.9. IPO diagram for the design definition process 4.10. IPO diagram for the system analysis process 4.11. IPO diagram for the implementation process 4.12. IPO diagram for the integration process 4.13. IPO diagram for the verification process 4.14. Definition and usage of a verification action 4.15. Verification level per level 4.16. IPO diagram for the transition process 4.17. IPO diagram for the validation process 4.18. Definition and usage of a validation action 4.19. Validation level per level 4.20. IPO diagram for the operation process 4.21. IPO diagram for the maintenance process 4.22. IPO diagram for the disposal process 5.1. IPO diagram for the project planning process 5.2. IPO diagram for the project assessment and control process 5.3. IPO diagram for the decision management process List of Figures
- 18. LIST OF FIGURES xi 5.4. IPO diagram for the risk management process 5.5. Level of risk depends on both likelihood and consequences 5.6. Typical relationship among the risk categories 5.7. Intelligent management of risks and opportunities 5.8. IPO diagram for the configuration management process 5.9. Requirements changes are inevitable 5.10. IPO diagram for the information management process 5.11. IPO diagram for the measurement process 5.12. Measurement as a feedback control system 5.13. Relationship of technical measures 5.14. TPM monitoring 5.15. IPO diagram for the quality assurance process 6.1. IPO diagram for the acquisition process 6.2. IPO diagram for the supply process 7.1. IPO diagram for the life cycle model management process 7.2. Standard SE process flow 7.3. IPO diagram for the infrastructure management process 7.4. IPO diagram for the portfolio management 7.5. IPO diagram for the human resource management process 7.6. IPO diagram for the quality management process 7.7. IPO diagram for the knowledge management process 8.1. Tailoring requires balance between risk and process 8.2. IPO diagram for the tailoring process 8.3. Product line viewpoints 8.4. Capitalization and reuse in a product line 8.5. Product line return on investment 8.6. Service system conceptual framework 8.7. Organizations manage resources to create enterprise value 8.8. Individual competence leads to organizational, system and operational capability 8.9. Enterprise SE process areas in the context of the entire enterprise 9.1. Sample model taxonomy 9.2. SysML diagram types 9.3. Functional analysis/allocation process 9.4. Alternative functional decomposition evaluation and definition 9.5. OOSEM builds on established SE foundations 9.6. OOSEM activities in context of the system development process 9.7. OOSEM activities and modeling artifacts 9.8. Sample FFBD and N2 diagram 9.9. Examples of complementary integration activities of IPDTs 9.10. Lean development principles 10.1. Contextual nature of the affordability trade space 10.2. Systems operational effectiveness 10.3. Cost versus performance 10.4. Affordability cost analysis framework 10.5. Life cycle cost elements (not to scale) 10.6. Process for achieving EMC 10.7. Supportability analysis 10.8. Reliability program plan development 10.9. Resilience event model 10.10. Sample Function Analysis System Technique (FAST) diagram
- 19. xii List of Tables 2.1. Important dates in the origins of SE as a discipline 2.2. Important dates in the origin of SE standards 2.3. Current significant SE standards and guides 2.4. SE return on investment 3.1. Generic life cycle stages, their purposes, and decision gate options 4.1. Examples of systems elements and physical interfaces 5.1. Partial list of decision situations (opportunities) throughout the life cycle 8.1. Standardization‐related associations and automotive standards 8.2. Attributes of system entities 9.1. Types of IPDTs and their focus and responsibilities 9.2. Pitfalls of using IPDT
- 20. INCOSE Systems Engineering Handbook: A Guide for System Life Cycle Processes and Activities, Fourth Edition. Edited by David D. Walden, Garry J. Roedler, Kevin J. Forsberg, R. Douglas Hamelin and Thomas M. Shortell. © 2015 John Wiley Sons, Inc. Published 2015 by John Wiley Sons, Inc. 1 1.1 Purpose This handbook defines the discipline and practice of systems engineering (SE) for students and practicing professionals alike and provides an authoritative refer- ence to understand the SE discipline in terms of content and practice. 1.2 Application This handbook is consistent with ISO/IEC/IEEE 15288:2015, Systems and software engineering—System life cycle processes (hereafter referred to as ISO/IEC/ IEEE 15288), to ensure its usefulness across a wide range of application domains—man‐made systems and products, as well as business and services. ISO/IEC/IEEE 15288 is an international standard that provides generic top‐level process descriptions and requirements, whereas this handbook further elaborates on the practices and activities necessary to execute the processes. Before applying this handbook in a given organization or project, it is recommended that the tai- loring guidelines in Chapter 8 be used to remove con- flicts with existing policies, procedures, and standards already in use within an organization. Processes and activities in this handbook do not supersede any interna- tional, national, or local laws or regulations. This handbook is also consistent with the Guide to the Systems Engineering Body of Knowledge (SEBoK, 2014) (hereafter referred to as the SEBoK) to the extent practicable. In many places, this handbook points readers to the SEBoK for more detailed coverage of the related topics, including a current and vetted set of references. For organizations that do not follow the principles of ISO/IEC/IEEE 15288 or the SEBoK to specify their life cycle processes (including much of commercial industry), this handbook can serve as a reference to prac- tices and methods that have proven beneficial to the SE community at large and that can add significant value in new domains, if appropriately selected and applied. Section 8.2 provides top‐level guidance on the applica- tion of SE in selected product sectors and domains. 1.3 Contents This chapter defines the purpose and scope of this hand- book. Chapter 2 provides an overview of the goals and value of using SE throughout the system life cycle. Systems Engineering Handbook Scope 1
- 21. 2 Systems Engineering Handbook Scope Chapter 3 describes an informative life cycle model with six stages: concept, development, production, utilization, support, and retirement. ISO/IEC/IEEE 15288 identifies four process groups to support SE. Each of these process groups is the subject of an individual chapter. A graphical overview of these processes is given in Figure 1.1: • • Technical processes (Chapter 4) include business or mission analysis, stakeholder needs and require- ments definition, system requirements definition, architecture definition, design definition, system analysis, implementation, integration, verification, transition, validation, operation, maintenance, and disposal. • • Technical management processes (Chapter 5) include project planning, project assessment and control, decision management, risk management, configuration management, information management, measurement, and quality assurance. • • Agreement processes (Chapter 6) include acquisition and supply. • • Organizational project‐enabling processes (Chapter 7) include life cycle model management, infrastruc- ture management, portfolio management, human resource management, quality management, and knowledge management. This handbook provides additional chapters beyond the process groups listed in Figure 1.1: • • Tailoring processes and application of systems engineering (Chapter 8) include information on how to adapt and scale the SE processes and how to apply those processes in various applications. Not every process will apply universally. Careful selection Transition process Validation process Operation process Maintenance process Disposal process Technical management processes Project planning process Project assessment and control process Decision management process Risk management process Configuration management process Information management process Measurement process Quality assurance process Organizational project-enabling processes Life cycle model management process Infrastructure management process Portfolio management process Human resource management process Quality management process Knowledge management process Technical processes Business or mission analysis process Integration process Verification process Stakeholder needs requirements definition process System requirements definition process Architecture definition process Design definition process System analysis process Implementation process Agreement processes Acquisition process Supply process Figure 1.1 System life cycle processes per ISO/IEC/IEEE 15288. This figure is excerpted from ISO/IEC/IEEE 15288:2015, Figure 4 on page 17, with permission from the ANSI on behalf of the ISO. © ISO 2015. All rights reserved.
- 22. Format 3 from the material is recommended. Reliance on process over progress will not deliver a system. • • Crosscutting systems engineering methods (Chapter 9) provide insights into methods that can apply across all processes, reflecting various aspects of the itera- tive and recursive nature of SE. • • Specialty engineering activities (Chapter 10) include practical information so systems engineers can understand and appreciate the importance of various specialty engineering topics. Appendix A contains a list of references used in this handbook. Appendices B and C provide a list of acro- nyms and a glossary of SE terms and definitions, respec- tively. Appendix D provides an N2 diagram of the SE processes showing where dependencies exist in the form of shared inputs or outputs.Appendix E provides a master list of all inputs/outputs identified for each SE process. Appendix F acknowledges the various contributors to this handbook. Errors, omissions, and other suggestions for this handbook can be submitted to the INCOSE using the comment form contained in Appendix G. 1.4 Format A common format has been applied in Chapters 4 through 7 to describe the system life cycle processes found in ISO/IEC/IEEE 15288. Each process is illus- trated by an input–process–output (IPO) diagram show- ing key inputs, process activities, and resulting outputs. A sample is shown in Figure 1.2. Note that the IPO • Data • Material Inputs Controls Activities Outputs Enablers • Applicable laws and regulations • Standards • Agreements • Project direction • Project control requests Process A process is an integrated set of activities that transforms inputs into desired outputs • Processed data • Products and/or services • Organization policies, procedures, and standards • Organization infrastructure • Project infrastructure • Knowledge management system Figure 1.2 Sample of IPO diagram for SE processes. INCOSE SEH original figure created by Shortell and Walden. Usage per the INCOSE Notices page. All other rights reserved.
- 23. 4 Systems Engineering Handbook Scope diagrams throughout this handbook represent “a” way that the SE processes can be performed, but not neces- sarily “the” way that they must be performed. The issue is that SE processes produce “results” that are often cap- tured in “documents” rather than producing “documents” simply because they are identified as outputs. To under- stand a given process, readers are encouraged to study the complete information provided in the combination of diagrams and text and not rely solely on the diagrams. The following heading structure provides consistency in the discussion of these processes: • • Process overview • • Purpose • • Description • • Inputs/outputs • • Process activities • • Process elaboration To ensure consistency with ISO/IEC/IEEE 15288, the purpose statements from the standard are included ver- batim for each process described herein. Inputs and out- puts are listed by name within the respective IPO diagrams with which they are associated. A complete list of all inputs and outputs with their respective descrip- tions appears in Appendix E. The titles of the process activities listed in each section are also consistent with ISO/IEC/IEEE 15288. In some cases, additional items have been included to provide summary‐level information regarding industry best prac- tices and evolutions in the application of SE processes. The controls and enablers shown in Figure 1.2 govern all processes described herein and, as such, are not repeated in the IPO diagrams or in the list of inputs asso- ciated with each process description. Typically, IPO dia- grams do not include controls and enablers, but since they are not repeated in the IPO diagrams throughout the rest of the handbook, we have chosen to label them IPO diagrams. Descriptions of each control and enabler are provided in Appendix E. 1.5 Definitions of Frequently Used Terms One of the systems engineer’s first and most important responsibilities on a project is to establish nomenclature and terminology that support clear, unambiguous com- munication and definition of the system and its ele- ments, functions, operations, and associated processes. Further, to promote the advancement of the field of SE throughout the world, it is essential that common defi- nitions and understandings be established regarding general methods and terminology that in turn support common processes. As more systems engineers accept and use common terminology, SE will experience improvements in communications, understanding, and, ultimately, productivity. The glossary of terms used throughout this book (see Appendix C) is based on the definitions found in ISO/ IEC/IEEE 15288; ISO/IEC/IEEE 24765, Systems and Software Engineering—Vocabulary (2010); and SE VOCAB (2013).
- 24. INCOSE Systems Engineering Handbook: A Guide for System Life Cycle Processes and Activities, Fourth Edition. Edited by David D. Walden, Garry J. Roedler, Kevin J. Forsberg, R. Douglas Hamelin and Thomas M. Shortell. © 2015 John Wiley Sons, Inc. Published 2015 by John Wiley Sons, Inc. 5 2.1 Introduction This chapter offers a brief overview of the systems engineering (SE) discipline, beginning with a few key definitions, an abbreviated survey of the origins of the discipline, and discussions on the value of applying SE. Other concepts, such as systems science, systems thinking, SE leadership, SE ethics, and professional development, are also introduced. 2.2 Definitions and Concepts of a System While the concepts of a system can generally be traced back to early Western philosophy and later to science, the concept most familiar to systems engineers is often traced to Ludwig von Bertalanffy (1950, 1968) in which a system is regarded as a “whole” consisting of interact ing “parts.” The ISO/IEC/IEEE definitions provided in this handbook draw from this concept. 2.2.1 General System Concepts The systems considered in ISO/IEC/IEEE 15288 and in this handbook [5.2.1] … are man‐made, created and utilized to provide products or services in defined environments for the benefit of users and other stakeholders. The definitions cited here and in Appendix C refer to systems in the real world. A system concept should be regarded as a shared “mental representation” of the actual system. The systems engineer must continually distinguish between systems in the real world and system representations. The INCOSE and ISO/IEC/IEEE defini tions draw from this view of a system: … an integrated set of elements, subsystems, or assem blies that accomplish a defined objective. These elements include products (hardware, software, firmware), processes, people, information, techniques, facilities, services, and other support elements. (INCOSE) [4.1.46] … combination of interacting elements orga nized to achieve one or more stated purposes. (ISO/IEC/ IEEE 15288) Thus, the usage of terminology throughout this hand book is clearly an elaboration of the fundamental idea that a system is a purposeful whole that consists of inter acting parts. Systems Engineering Overview 2
- 25. 6 Systems Engineering Overview An external view of a system must introduce elements that specifically do not belong to the system but do interact with the system. This collection of elements is called the operating environment or context and can include the users (or operators) of the system. The internal and external views of a system give rise to the concept of a system boundary. In practice, the system boundary is a “line of demarcation” between the system itself and its greater context (to include the operating environment). It defines what belongs to the system and what does not. The system boundary is not to be confused with the subset of elements that interact with the environment. The functionality of a system is typically expressed in terms of the interactions of the system with its operating environment, especially the users. When a system is con sidered as an integrated combination of interacting ele ments, the functionality of the system derives not just from the interactions of individual elements with the environmental elements but also from how these interac tions are influenced by the organization (interrelations) of the system elements. This leads to the concept of system architecture, which ISO/IEC/IEEE 42010 (2011) defines as the fundamental concepts or properties of a system in its environment embodied in its elements, relationships, and in the principles of its design and evolution. This definition speaks to both the internal and external views of the system and shares the concepts from the definitions of a system. 2.2.2 Scientific Terminology Related to System Concepts In general, engineering can be regarded as the practice of creating and sustaining services, systems, devices, machines, structures, processes, and products to improve the quality of life—getting things done effectively and efficiently. The repeatability of experiments demanded by science is critical for delivering practical engineering solutions that have commercial value. Engineering in general and SE in particular draw heavily from the termi nology and concepts of science. An attribute of a system (or system element) is an observable characteristic or property of the system (or system element). For example, among the various attributes of an aircraft is its air speed. Attributes are represented symbolically by variables. Specifically, a variable is a symbol or name that identifies an attribute. Every vari able has a domain, which could be but is not necessarily measurable. A measurement is the outcome of a process in which the system of interest (SOI) interacts with an observation system under specified conditions. The out come of a measurement is the assignment of a value to a variable. A system is in a state when the values assigned to its attributes remain constant or steady for a mean ingful period of time (Kaposi and Myers, 2001). In SE and software engineering, the system elements (e.g., software objects) have processes (e.g., operations) in addition to attributes. These have the binary logical values of being either idle or executing. A complete description of a system state therefore requires values to be assigned to both attributes and processes. Dynamic behavior of a system is the time evolution of the system state. Emergent behavior is a behavior of the system that cannot be understood exclusively in terms of the behavior of the individual system elements. The key concept used for problem solving is the black box/white box system representation. The black box rep resentation is based on an external view of the system (attributes). The white box representation is based on an internal view of the system (attributes and structure of the elements). There must also be an understanding of the relationship between the two. A system, then, is repre sented by the (external) attributes of the system, its internal attributes and structure, and the interrelationships between these that are governed by the laws of science. 2.2.3 General Systems Methodologies Early pioneers of SE and software engineering, such as Yourdon (1989) and Wymore (1993), long sought to bring discipline and precision to the understanding and management of the dynamic behavior of a system by seeking relations between the external and internal repre sentations of the system. Simply stated, they believed that if the flow of dynamic behavior (the system state evolu tion) could be mapped coherently into the flow of states of the constituent elements of the system, then emergent behaviors could be better understood and managed. Klir (1991) complemented the concepts of a system in engineering and science with a general systems meth odology. He regarded problem solving in general to rest upon a principle of alternatively using abstraction and
- 26. Other documents randomly have different content
- 27. George Edwardes had a servant who stuttered very badly. He had been with Edwardes, “man and boy”, for many years, and at last attended his master’s funeral. He was telling the glories of the ceremony to someone, and said: “It was a l-l-lovely funeral! S-s- some b-boy sang a s-s-solo; he s-ang it b-b-beautifully; I expected any m-m-minute to see the G-guvenor sit up and say, ‘G-give him a c-c-contract!’” George Edwardes was once interviewing a lady for the chorus at the Gaiety; he asked her, “Do you run straight?” “Yes, Mr. Edwardes,” was the reply, “but not very far, or very fast.” He once gave a supper party at the old Waldorf Hotel, which at that time was literally overrun with mice. G. P. Huntly was present, and, among others, Mr. Blackman, one of George Edwardes’s managers. All dined well—and many not wisely. Presently G. P. Huntly saw a mouse on the curtain, and the dreadful fear assailed him that perhaps “it wasn’t really a mouse—not a real mouse, anyway”. He turned to Mr. Blackman and said, “Did you see that?” “See what?” asked the other. Huntly pointed to the curtain. “That mouse on the curtain.” By that time the mouse had moved, and Blackman replied in the negative. In a minute Huntly asked the same question again: “See that mouse?” Blackman (who by this time had seen it), to “rag” him, said “No.” Poor Huntly turned very white, rose from his seat, and said, “Ah!—Good-night!” and went home. Alfred Lester and Mr. W. H. Berry—at one time, at least—did not “get on”. One morning Lester was going to interview Edwardes about something, and Edwardes, knowing about this “rift in the theatrical lute”, warned Blackman before Lester came, “Now, on no account mention Berry! Let’s have a nice, quiet, pleasant interview; keep Berry out of it,” and so on. When Alfred Lester came into the room, Edwardes stretched out his hand and said cordially, “Well, Berry, how are you, my boy? Sit down.”
- 28. When we were married, W. S. Gilbert gave us a silver tea-set, and later a day came when we pooled our worldly wealth and found we had eighteen shillings in the whole world—and Gilbert’s tea-set. We debated as to whether the tea-set should find a temporary home with “uncle”, but decided to wait as long as we could before taking this step. Harry heard that a tour was going out from the Gaiety, and thought he would try for the “Arthur Roberts” part on tour. (Could anything have been more absurd!) He learnt a song, and set out, calling at the Websters’ flat to practise the song again. He arrived at the Gaiety, full of hope and—the song; was told to begin, opened his mouth, and found he had forgotten every note; and so—Arthur Roberts lost a rival, and he came home. Soon afterwards George Alexander gave him a contract, and Gilbert’s tea-set was saved! A well-known producer of sketches and revues, who is noted more for his energy than his education, was once rehearsing a company in which a number of young men, chiefly from the Whitechapel High Street, were enacting the parts of aristocrats at a garden party. One of them advanced to a young woman to “greet her”, which he did like this: Raising his hat, he exclaimed: “’Ello, H’Ethel!” A voice came from the stalls—the producer: “Good Lord! That isn’t the way that a h’earl talks. Let me show you.” He rushed up on to the stage and advanced to the young lady, raising his hat and holding his arm at an angle of 45 degrees. “Ello! H’Ethel!” he began; “what are you a- doin’ ’ere?”; then turning to the actor, he said, “There you are! that’s the way to do it!” H. B. Irving was manager at the Savoy Theatre during the air raids. One evening, when the news of an air raid came through, he went to warn his leading lady. He walked straight into her dressing- room, and found the lady absolutely—well, she had reached the final stage of undressing. Irving, quite absent-minded as usual, never even saw how she was dressed. “Take cover!” he said, and walked out again.
- 29. During the war I sat on many Committees—we all did, for that matter. This particular one was concerned with arranging work for women, work which needed “pushing through” quickly, and the secretary was reading the suggested scheme. It read something as follows: “It is suggested that the women shall work in shifts, etc., etc.” A well-known Peeress, who was in the chair, leant forward. “Quite good,” she said, “quite good, but I should like some other word substituted for ‘shifts’; it really sounds—not quite nice, I think.” Another Committee—this time for providing work for women who had been connected either with art, music, or the drama—all of which, I may say, became elastic terms. It was a large Committee— much too large—and it consisted of many very well-known and charitably inclined ladies. There were—but no, I had better not give you names! The secretary was reporting on the case of a woman who had just been admitted to the workrooms—an elderly, self- respecting, very good-looking woman, who had years before played —and played, I believe, very admirably—in “sketches”, but in the days when £3 was considered a very good salary. The report finished, the secretary waited for comments. From the end of the table came a voice—a very full, rich, deep voice—which belonged to a lady swathed in sables, and wearing pearls which would have kept a dozen women in comfort for a year. “And you say this lady has been working for many years?” The secretary replied that she had—many years. “And she was receiving a salary all the time?” The secretary again explained that “in those days salaries were very small”. “And now she wants work in our workrooms?”. A pause, the speaker pulled her sables round her, the pearls rattled with her righteous indignation. “Another improvident actress!” she said, in the tone of one who has plumbed the enormity of human depravity to its very depths.
- 30. During the war I used sometimes to go to a munition factory and, during the dinner-hour, to entertain the “boys and girls”. Such nice “boys and girls”, too, who apparently liked me as much as I liked them. I heard a story there about their “works motto”, which struck me as rather amusing. The owner of the works chose it—“Play for the side”—and had it put up in the canteen. When the workers were assembled for dinner, he took the opportunity to say a few words on the subject of the motto. “Play for the side,” he began, when a voice from the back of the canteen was heard: “That’s all right, Guv’nor, but whose side—ours or yours?” Here is a story of Martin Harvey. He was playing The Breed of the Treshams in the provinces, and had in the company an actor who played a very small part, and who loved to talk in what is known as “rhyming slang”. It is a stupid kind of slang which designates “whisky” as “gay and frisky”, “gloves” as “turtle doves”. Martin Harvey was going on to the stage one evening, and met this actor rushing back to his dressing-room. Knowing that he should have been on the stage when the curtain went up, Harvey asked “Where are you going?” “It’s all right,” replied the man, “I’m just going back to my dressing-room for a second; I’ve forgotten my turtle doves.” “Well, be quick about it,” Harvey told him; “and please remember in future I don’t like you to keep birds in the dressing-rooms!” After the war, a well-known “play-going” society gave a dinner to a representative section of the legitimate and variety stages who had done work for the soldiers in the war. Mr. George Robey was to respond for Variety. I sat opposite to him, with Mr. Harry Tate on my left, and almost opposite me, quite close to George Robey, sat Marie Lloyd. She was wonderfully dressed, with a marvellous ermine cloak; and it was quite evident, from the moment she arrived (which was very late), that she was in a very bad temper. (As a matter of fact, I heard later that she was upset at the death of an old friend, Mr. Dick Burge.) Mr. Robey got up to “respond for Variety”, and really I must
- 31. admit that his speech was very much on the lines of “I have been very glad—er—er—that is, we have been very glad”, and so on. I watched Marie Lloyd’s face; it got more and more “black” as his speech went on. When he finished, she rose and said in that attractive, rather hoarse voice—which was at that moment a remarkably cross voice too—“I’m Marie Lloyd; I’ve done my bit for the “boys”; I haven’t had my photo in the papers for years; and what I want to know is—touching this speech we have just listened to—what’s Marie Lloyd and poor old Ellen Terry done?” She leant across to Harry Tate, said “Come on, Harry”, and walked from the room. Everyone gasped. It was all over in a few seconds, but it left its mark on the dinner. When Brookfield took a company to America he lost a good deal of money over the venture. On his return he walked into the Green Room Club, and met Grossmith (“Old G. G.”), and began to tell him of his losses. “Can’t understand it,” said G. G., “you people take thousands of pounds of scenery, trainloads of artists, spend money like water, and come back and say ‘It hasn’t paid!’ Look at me: I take nothing to America with me but a dress suit, come back having made ten thousand pounds!” “Very likely,” said Brookfield; “remember everyone doesn’t look as damned funny in a dress suit as you do!” Lionel Monckton was in the Green Room Club one evening, having supper. Mr. Thomas Weiglin, a well-developed gentleman, walked in, faultlessly attired in full evening dress; everyone applauded his entrance. Mr. Monckton looked up, and said in a voice of protest, “I have been coming to the club in evening dress for forty years, and no one has ever done that to me.” Winifred Emery told me this. She and Cyril Maude were on their honeymoon. She was lying in bed, wearing a most engaging nightdress, and she thought that she was looking very nice. He
- 32. stood at the end of the bed, watching her, and presently walked to her, took a small piece of the nightdress in his fingers, saying as he did so, “Don’t you think it would be better if it was made of stronger calico?” Herbert Tree met Fred Terry in the Garrick Club one day, and said to him: “My new production—er—what do you think about my having your beautiful daughter, Phyllis, to play the leading lady’s part?” Fred Terry said he thought it would be very admirable for all concerned, and that he approved entirely. “What handsome remuneration should I have to offer her?” Tree asked. Mr. Terry named a sum, which he thought “about right”. “What;” said Tree; “what!” Then came a long pause, and at last Tree said in a dreamy voice, “Do you know I can get Marie Lloyd for that?” I was once playing a sketch at a hall in the provinces, where the population apparently come to the performance so that they may read their evening papers to the accompaniment of music. At the end of the week, the manager asked me how “I liked the audience”, and I told him. “You’re quite right,” he replied, “but I’ve got a turn coming next week that they will appreciate, that they will understand.” I asked what the turn was. “Roscoe’s Performing Pigs,” he told me. A certain actor tells a story about himself when he first went on the stage. He had just sold out of the Army, and felt he was rather conferring a favour upon Henry Irving by joining his company at the Lyceum. They were rehearsing Coriolanus, and someone was wanted to “walk on” as a messenger. Irving looked round, and his eye lit upon our friend, who was wearing—as smart young men did in those days—a large white fluffy tie. “Here you, young man in the white
- 33. tie,” he said. The product of the Army took not the slightest notice. “Here you,” Irving repeated; “come here, I want you.” Our friend, with offended dignity on every line of his face, advanced and asked, “Did you want me?” “Yes,” said Irving, “I did.” “Then,” said the budding Thespian, “my name is Gordon!” “Oh, is it?” Irving said, affably. “Mine is Irving; how are you?” Then, changing his tone, “Now I want you to come on here, carrying,” etc., etc. When Barrie’s Twelve Pound Look was at the Coliseum, two “comedy sketch artists” were in the stalls. The play went very well— very well indeed. One of the comedians turned to the other: “Who wrote this?” “Fellow called ‘Barrie’,” was the reply. “Ah!” said the first, “he writes our next; he’s good!” While rehearsing a scene in a film production, the producer described to the two artistes the Eastern atmosphere he wanted— the warmth, the amorous love conveyed in the love scenes. He read the scene, with all the usual Eastern language, such as “Rose of Persia”, “O, Light of My Desire”, “Look at me with your lovely eyes”, and other such remarks which might convey the “kind of acting” which he was trying to get. The actor listened to what the producer said in silence, then remarked cheerfully, “Yes, yes, I know —‘Shrimps for Tea’.” Decima’s son was very young when the war broke out. He was a “Snotty” at Dartmouth, and saw a great deal of active service. After the Battle of Jutland he wrote home to us a short description of the fight, saying briefly that he had seen this or that ship sunk, adding: “And now to turn to something really serious; I owe my laundry thirty shillings, and until the bill is paid the blighter refuses to let me have my shirts. Could you loan me a couple of quid?”
- 34. When Flames of Passion, the film in which I appeared, was showing at the Oxford, a woman I knew went to see it, and was sitting in the gallery. Next to her was a flower-woman—one of the real old type, complete with shawl and small sailor hat. After a time they began to talk to each other. This is the conversation as it was reported to me later: “It’s a good picture, dearie, ain’t it?” asked the “flower-girl”. “Very good.” “I think Eva Moore’s good, don’t you?” “Very good.” “She’s lorst ’er ’usband lately, pore thing; very ’ard for ’er. Though, mind yer, it’s a pleasant change, in one way: most of these ’ere actresses only mislay theirs.” Which reminds me of another story. Some time after Harry died, a man I knew slightly called to see me. He came in, and began to say how grieved he was to hear of Harry’s death, and how much he sympathised with me in my loss. This went on for some time, then he said: “But the real thing I came to ask was—do you know of a good ‘jobbing’ gardener?” An author once engaged an actor for a part, simply on account of his very ugly face and his exceeding bad complexion. At the dress rehearsal the author met the actor at the side of the stage, “made up”. “Who are you?” he asked. The actor gave his name. “Go and wash all the make-up off at once,” said the author; “I only engaged you for your ugly face.” At Henley Regatta, years ago, Jack (about six years old, very fair and attractive) was watching the races from a balcony over Hobbs’ boathouse, which belonged to kind friends of ours, Mr. and Mrs. Pidgeon, who yearly invited us to see the wonderful view. After watching several races, Jack turned to our hostess and said, “Please, does the steamer never win?”
- 35. It was from their balcony, too, that I saw Mr. Graham White, when he flew right down the racecourse in his aeroplane, dipping and touching the water like a swallow, to the alarm of the crowds in their boats on either side of the course—a never-to-be-forgotten sight. Photograph by Alfred Ellis, London, W. To face p. 142 Harry as Major-General Sir R. Chichele “The Princess and the Butterfly”
- 36. W CHAPTER XI ROUND AND ABOUT “We’ve been to a good many places in the last few months, but we’ve had a very pleasant time.” —Grierson’s Way. hen we first went out to America together, Harry and I, in 1914, it was my first visit, though not his; he had been over before to produce several of his own plays. We took with us The Dear Fool, which was played in this country in 1914, and Eliza Comes to Stay. Personally, I did not enjoy the visit very much; and, to be quite candid, it was not the success we could have wished. The critics were not too kind, and, though American theatrical criticism may have changed since then, I found their articles such an extraordinary mixture of journalese, slang, and poker terms as to be almost unintelligible—at all events to my British intelligence. These articles may have been very amusing; perhaps if I could have read them “on this side”, I might have found them so, but in New York I admit the kind of writing—of which I give an example here—merely irritated me, as I imagine it must have irritated many other English artists: “After the first act there was a universal call for the water- boy, yet we all stayed; nobody raised the ante, so we all cheerfully drew cards for the second act. Alas, when it was too late, we discovered it was a bum deck. I don’t believe there was anything higher than a seven spot.” That may be very clever. I can almost believe it is very witty; but I still hold that it is not “criticism”.
- 37. I give one more example, and also the comment of another American newspaper upon the extract from the first journal. The extract concerns The Dear Fool, and is as follows:—“A pretty severe strain on one’s critical hospitality. Betty at best a cackling marionette made of sawdust. It is but a meaningless jumble of stock phrases and stock situations. Anything more feeble it would be hard to imagine. The ‘Dear Fool’ is one of the worst.” Now mark the pæan of thanksgiving which this criticism calls forth from another New York journal:—“Not only is this (referring to the extract given above) an accurate and intelligent account of last night’s play—healthy fearlessness which rarely gets into the New York criticisms. Let us have more of this honest and straightforward writing about the current drama.” That is only the worst—may I say “the worst”, not only from “our” point of view, but also from the point of view of “criticism”—which I still maintain it was not, in any sense of the word. Some weeks ago I read a very admirable series of essays by Mr. Agate, and in writing of critics he says (and he is one of them) that every critic should be a “Jim Hawkins”, looking for treasure. Too often, I can believe, it is a weary search; but surely in every play there is something which calls for approbation, and which may point to possibilities in the author’s work. To find that streak of gold, to incite the author to follow it, and to perhaps point out in what manner he may best do so, coupled with a fair review of his play as a whole, giving faults as they appear and merits where they can be found—that seems to me the justification of criticism. Another critic wrote with perhaps a less racy pen, but with more understanding:—“There was a literary quality in the writing and a neatness in the construction which were inviting, and there was a mellowness to the story of its middle-aged lovers which had real appeal. Over it all was the unmistakable atmosphere of English life. All these qualities and the fact that the play was extremely well acted, counted strongly in its favour.” Alan Dale, the critic who was regarded as the critic of America, under whose pen actors and managers quaked in their shoes, wrote:
- 38. —“It has the gentle, reluctant English atmosphere of other plays by this actor-author, and it is interesting by reason of its lines and its characterisation. After all the ‘shockers’ of to-day, with their red and lurid types, after the insensate struggle for garish effects and horrors, this play gives us a whiff of repose; it is unstagy, its characters are real human beings who talk like human beings; if they haven’t anything startling to say from the theatrical point of view, they are at least human.” What a good thing it is we don’t all see things through one pair of glasses! But I am wandering from my story of the visit to America. I look back on it all now, and remember the series of untoward events and mishaps which occurred before our journey began. The week before we left England, a cable came from “C. F.” (Charles Frohman) to say that he had altered the theatre which was to be the scene of our production. Our theatre had been let to a big film company, and we were to be sent to the Garrick. A wretched little place it was, too; as the stage manager there said frankly: “Only fit for a garage.” As a matter of fact, I believe it now is one. Even before we left Liverpool a wave of depression came over me, when our ship met with an accident as she was leaving port. The sun—a wintry, pale sun—was sinking as we began to move, towed out of the river. The order to release was, I suppose, given too soon; on board we felt nothing— the only sign that anything was wrong was that we saw everyone on the landing-stage running for dear life, like frightened rabbits. Then we realised that our big ship was crashing into the landing-stage, crushing like matchwood a big dredger which was lying alongside, and also the iron gangway. All we felt on board was a slight shiver which seemed to run through the ship. We were delayed seven hours while the screws were examined. I am not a superstitious mortal, but the feeling that all this was a bad omen clung to me— and, be it said, proved true. On board we were a happy party; many of the company had been with us before, and so were old friends. Jack and Jill (who was nearing her fifth birthday) loved their first experience of travelling a
- 39. long distance; the Esmond family were out to enjoy the trip—and succeeded. The entrance to New York harbour filled me with interest. I still remember and wonder at those eight or nine tiny tugs, veritable cockle-shells they looked, which “nosed” our huge liner into dock. I remember, too, the ghastly business of the Customs! I am not a good sailor, and the moment I stood on solid earth again it seemed to heave up and down, and continued to do so for several days. The hours which we spent, waiting for our baggage to be examined, were absolute torture to me. Socially, we had a perfect time, kindness and hospitality were shown to us in every possible way; but our poor Eliza was abused up hill and down dale. The first night was the most horrible I can remember. The theatre was boiling hot, and the hot-water pipes continually went off like great guns. I was as cold as ice. After playing Eliza everywhere in England to the accompaniment of roars of laughter, the coldness of the reception at the Garrick in New York was hard to bear. For some reason, it was said that Eliza was copied from a play then in New York—Peg o’ My Heart—and which was an enormous success. It was stated, with almost unnecessary frankness, that for us to have presented Eliza in New York was an impertinence. Naturally there was not a word of truth in the statement; as a matter of fact, Eliza had been written some years before Peg, and there had been a suggestion (which had not materialised) that it should have been produced in America soon after it was written. We made no reply to these unjust and utterly untrue statements and suggestions; it would have been useless; but I am glad now to take this opportunity of referring to them. Eliza had been the cause of trouble before: it is a long story, but one which I think is worth recording here, and at this particular point. When we produced Eliza at the Criterion, Miss Mabel Hackney came to see it, bringing with her Miss Simmons, the authoress of a play called Clothes and The Woman. This play had been sent to me to read some time before, and, having been very busy, I had not done so at once. Miss Simmons wrote to me, asking if I would return
- 40. it, to which I replied that I should be glad to keep it for a little longer, so that I might read it. In all, I suppose the play was in my house for three months. At the end of that time the MS. was returned to Miss Simmons, with a letter in which I stated that I liked the play very much, “up to a point”, but that at the moment I was not producing anything. I read dozens of plays in the course of a year, and, having returned it, dismissed the matter from my mind. Eliza, as I have said, was produced, and a performance witnessed by Miss Simmons, who at once, without approaching Harry or myself, sent a letter to the Authors’ Society, demanding that they should apply for the immediate withdrawal of Harry’s play, on the grounds that it was plagiarism of her comedy, Clothes and The Woman. Harry, on receipt of the letter from the Authors’ Society, at once communicated with Miss Dickens, that efficient lady who has typed so many of his plays. Miss Dickens was able to prove conclusively to the Authors’ Society that Eliza Comes to Stay had been typed by her at least two and a half years before Clothes and The Woman had been sent to me by Miss Simmons. The Society was satisfied, and laid the facts before Miss Simmons, who, I regret to say, did not feel it necessary to offer an apology to Harry for the injustice she had done him. To use an old joke, which I find the critics are still willing to use whenever Eliza is performed, “she” did not come to stay in New York, and we put on The Dear Fool. This play was as warmly praised as Eliza had been slated, and we both scored a great personal success. We later renamed the play, as Harry discovered that the title, The Dear Fool, means in America a kind of “silly ass”, which was not at all what he intended to convey. In consequence, he called it The Dangerous Age, and under that title it was produced in London. I am reminded here of a story which Harry told me once when he came home after a trip to America. He had been to see Maud Adams and William Feversham playing Romeo and Juliet. Miss Adams, so he was told, believed that the love between Romeo and Juliet was strictly platonic, and would therefore have no bed in the famous
- 41. bedroom scene. The two lovers were discovered, as the curtain rose, seated on a sofa reading a book of poems. Harry, in telling me of the play, said he was certain that the book was Dr. Chavasse’s Advice to a Wife, a book which is well known in this country to all families—at least those of the last generation. Our visit to America ended, and we went for three weeks to Canada before returning home to begin our own season at the Vaudeville Theatre in London. Our next visit to Canada was in 1920, when we took with us Eliza —be it said, “by special request”—and The Law Divine. To tell one half of the kindness we received at the hands of the Canadian people would fill a huge book alone, and I must content myself with saying that it was nothing short of “wonderful”—quite, quite wonderful. Everywhere we went, people were anxious to do everything possible to make our visit pleasant, and how well they succeeded! The Trans-Canada Company, with which we went, had formed a splendid idea, and one which I hope will meet with the success it deserves; this is, to bring from London, British plays with British players, and to visit, as far as is possible, every town in Canada, so that the people of Canada may be in touch with the Mother Country in her ideas and ideals, and so cement the affection between the two countries which has been so splendidly aroused by the Great War. We were delighted to be pioneers, or one of the sections of the pioneers, of the scheme; but in the smaller towns we found that the inhabitants had so long been accustomed to American farces (and “bedroom” farces at that) or the lightest of musical comedies, that an English comedy, spoken by English people with English voices, was almost Greek to them. As someone said to me one day, “Your accent is so difficult to understand”, and one could see that was true, for in the opening scene of The Law Divine, which should be played quickly, we had to decrease the pace to let the audiences get used to our voices. This only applied to the smaller places; in the larger towns the audiences loved the plays; the English home setting, the sailor and the Tommy, in The Law Divine, won all hearts,
- 42. and the simplicity and directness of the acting astonished those of the audiences who had never seen a London production. On arriving at Quebec, we were rushed off by a night train to Montreal, in order that we might be present at a big luncheon party, given by Lord and Lady Shaughnessy, to welcome us to Canada. There we met many people who became our warm friends, Sir Frederick and Lady Taylor, Mrs. Drummond (who is so well known in the amateur dramatic world), Mrs. Henry Joseph—to mention only a few of the friends we made in Canada. That week we started our tour at Halifax (Nova Scotia), and visited 48 towns in four months, travelling right through Canada to Victoria, B.C. It was all tremendously interesting, and the hospitality we received was boundless—luncheons, dinners, suppers, given both by private friends and numerous clubs, such as the Canadian Women’s Club, The Daughters of the Empire, the Men’s Canadian Club, the Rotary, the Kyannias, and the various dramatic clubs. At Toronto we were asked to speak in the new theatre at Hart Hall, the beautiful college that has been built on the lines of an Oxford College, and given by Deane Massey, Esq. This was the first time that a woman had been asked to speak there, and I believe some little anxiety was felt as to “what I should say”, but my subject was a safe one. I dealt with “Women’s Work during the War, and the Work for Her to do in the Future”. Harry, on this occasion, spoke of “The Drama”. It was an effort—a very real effort—as he hated and was really frightened of public speaking. On such occasions he usually recited, and used to make a tremendous effect with that great poem, The Defence of Lucknow. When I say “a tremendous effect”, I do not mean only from a dramatic point of view, but from the point of view that it was “Empire work”. I remember at Edmonton, Alberta—the city that is built farthest north of Canada—we were invited to lunch at the big college. There in the big hall we met the students, and sat down with some four hundred men of all ages from 18 to 40—students who, I was interested to learn, were all learning Spanish as well as German in their course. In the middle of the hall hung a huge Union Jack, and
- 43. under it Harry stood reciting The Defence of Lucknow to four hundred spellbound men and boys. I shall never forget the rousing cheers which went up from those who had listened to him when he ceased speaking. Professor Carr was the head of the College, and both he and his wife were charming to us. There we met Mr. Evans, who has done so much for the city. He and his wife gave a hockey match for us and the members of our company, which resulted in Harry “coming down” very hard on his gold cigarette case and squashing it quite flat. At Winnipeg—“The Golden Gate to the West”, I believe it is called —we met more delightful people, among them the Hon. “Bob” Rogers, as he is called. At the Barracks, where “Princess Pat.’s Own” were quartered, I met many men who had been friends of Decima’s in France during the war. It was here that I saw what, up to that time, I had only read of—a real dog-sledge. It was a bitter day, with a howling wind off the prairies, and at least 29 degrees below zero. Suddenly I saw dashing up the main street nine dogs, dragging what looked to me like a small boat. Forgetting the biting wind, I stopped to watch. “The boat” stopped, and all the dogs lay down instantly in the snow, all looking as if they were grinning, and wagging their tails with vigour. Then a man got out of “the boat”, and lifted out a dog with a strap attached to it; this he harnessed to the rest of the team, stopping only to cuff one of the resting dogs, which had taken the opportunity to eat some snow. The man got back into the sledge, and they were off again at full tilt. I loved the sight, so strange and picturesque—so strange to English eyes, and yet enacted for me by some unknown man, who was yet “part and parcel” of the Empire, even as I was. I never got over my feeling of depression when I looked at the prairies. Perhaps I saw them at a bad time, covered with snow— endless flat snow, which seemed limitless, seemed to stretch away to infinity. The only time I ever saw any beauty which brought joy in them, was one day when we had to leave Moose Jaw. We had a long journey to our next town, and left at three in the morning. I remember that through the night some of the company played
- 44. bridge, the ever-cheerful Florrie Lumley, of course, being one of the players. I went to bed, to snatch what sleep I could after two performances. The morning was the most amazing sunrise I have ever seen; the sky full of rich mauves and pinks, melting into blues and yellows, over the vast expanse of flat ground, is something which I could never hope to describe. I only know that I felt more than repaid for my early rising by the joy, the wonderful colour, the beauty, and the happiness which that sunrise gave to me. Again I seem to see Calgary, with its crowd of men of all nationalities; here a cowboy in full kit, with rattlesnake stirrups; there an Indian, incongruous with his hair in plaits and yet wearing European clothes, his squaw with him; a Japanese; even an Indian wearing a turban—all making a wonderful picture of East and West. And then, in the midst of all this cosmopolitan crowd, the huge hotel with all the most modern comforts—for all the C.P.R. Hotels are wonderful. It was from the roof garden of this hotel at Calgary that I had my first sight of the Rockies—and, oh! the joy of the Rockies. To me all those days of long journeys, the fatigues, the distress were nothing, were forgotten, in the joy of the sight of the mountains, the delight of feeling that one was actually “in” such beauty, and that the joy of looking at them would go on for days. We stayed to play at two little towns in the mountains. Kamloops, one of them, made us laugh—as, indeed, did many of our experiences. Fortunately our company was a happy one, all being ready to make light of difficulties. On this occasion we had to dress for the performance under most uncomfortable conditions, for the theatre at Kamloops is just a “frame” or wood hall. Rooms—of sorts —are provided for the artists; for instance, Harry’s room was built on the ground, no floor boarding, just bare earth—and the temperature at 40 degrees below zero; no heating was provided except in one room. The lighting, too, left much to be desired; we all had about two very tiny electric lights to dress by, and, just before the curtain went up, a knock came to the door, and the request was made for “the electric-light globes, as they were wanted for the footlights”. When we did ring up, the seven or eight globes which were to assist
- 45. the public to see us clearly were all backed by yellow posters, on which was printed “Cyril Maude as ‘Grumpy’”. If we had not all laughed so immoderately, I think the sight, facing us all through our performance, might have made us “Grumpy”. At Vancouver we were very gay. Our visit was all too short, and accordingly many different societies joined forces, and by this means we succeeded in meeting as many people as possible in the short time we were able to spend in the city. I think I have never felt more nervous in my life than I did at the luncheon given to us by the Canadian Men’s Club at the vast Vancouver Hotel, the largest hotel I have ever seen. About five hundred men were present, and I was the only woman. My entrance was almost a royal one; I was led by the President of the Club down a big flight of stairs into the hall; all the men rose to their feet and gave us a tremendous reception; I found myself, half tearfully, saying, “Oh, thank you, thank you so much.” It was a wonderful feeling, to be so far away from home, and yet to find such a lovely welcome from people who were not only glad to see you, but told you so. Miss M. Stewart, the daughter of Mrs. and General Stewart, who did such great work in France, laughingly constituted herself my chauffeuse, and drove me everywhere. I look forward to seeing Vancouver again one day. At Medicine Hat we played only one night, and, as I was walking down the main street, a frail little woman came up to me and asked, “Are you Eva Moore?” When I answered her, she said “I’m your cousin.” She had come countless miles from her prairie farm, which she ran with her son, to see me play. I had never seen her before; had not known, even, that I had a cousin in that part of the world! It was at Revelstoke, again in the Rockies—a place that had once been very flourishing, but owing to vast forest fires had almost ceased to be a working town—that I had an amusing experience. At every theatre God Save the King had always been played at the end of each performance. Here, to my astonishment, not a note was played. I asked the reason, and was told that the gentleman who played the piano—the only instrument in the orchestra—was a German. I was furious, and, knowing that the following week the
- 46. famous “Dumbells” were coming with their latest revue, Biff Bang, I wrote to the Major who was their manager, telling him what had happened, and asking him to see that the matter was put right. I knew I was safe in making the request, as the “Dumbells”, who had won all hearts on their tour through Canada, were all ex-Service men, all men who had served in the trenches. I also wrote to the Canadian Women’s Club, who had presented me with a bouquet, and to the manager of the theatre. All this had to be done very quickly, as we were only a few hours in the place. I never heard anything in reply until, by good fortune, the week we said “Good- bye” to Canada the “Dumbells” came to Montreal and I went to see them play, and after the performance went round to speak to the actors. It was then that their manager told me that, on receiving my letter, which was awaiting him, he had at once sent round to the stage to tell “the boys” that God Save the King would be sung twice before the play started and twice after the performance. He said, “Of course, the boys thought I was mad, but they did as I asked.” He went on to tell me that after the performance he went on to the stage and read them my letter, which was greeted with cheers. The next morning he went out and met the chief townsman, the butcher, who remarked how disgraceful it was that, though we called ourselves British, we had not had the Anthem played at the end of our performance. The Major again produced my letter and read it to him, asking that he would make its contents known in the town, which he promised to do. I hope he did, for it impressed me very much everywhere to see the staff of the theatres standing, hat in hand, while the Anthem was played, and I should hate any Canadian to think that we were less loyal than they. Going west through the Rockies, we missed seeing the first part, as the train went through that section at night; but coming back, by staying one night at a town, we were able to do the whole of the journey by day—and this Harry and I determined to do. During the night more snow had fallen, and we woke to a spotless, glistening world of white; the eighteen inches of snow which had fallen during the night, on the top of what had already fallen during the long
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