Research toward building a content pack from a story corpus, kept on its own branch and independent of the game. Records the selection experiments against blind labels, and settles selection as gate G2 followed by a human review: review.py writes REVIEW.md and a review.json form, apply_review.py checks the filled form and writes situations.json for the next stage. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_01C6UDQ9o6L6Ey173U7XVou6
7026 lines
343 KiB
Plaintext
7026 lines
343 KiB
Plaintext
The Project Gutenberg eBook of The Trimmed Lamp, and Other Stories of the Four Million
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This eBook is for the use of anyone anywhere in the United States and
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most other parts of the world at no cost and with almost no restrictions
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whatsoever. You may copy it, give it away or re-use it under the terms
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of the Project Gutenberg License included with this eBook or online
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at www.gutenberg.org. If you are not located in the United States,
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you will have to check the laws of the country where you are located
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before using this eBook.
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Title: The Trimmed Lamp, and Other Stories of the Four Million
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Author: O. Henry
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Release date: February 1, 2003 [eBook #3707]
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Most recently updated: October 24, 2021
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Language: English
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Other information and formats: www.gutenberg.org/ebooks/3707
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Credits: Charles Franks, Greg Weeks, the Project Gutenberg Online Distributed Proofreading Team and Joseph E. Loewenstein, M.D.
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*** START OF THE PROJECT GUTENBERG EBOOK THE TRIMMED LAMP, AND OTHER STORIES OF THE FOUR MILLION ***
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[Illustration:
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“Wooed her across the counter
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with a King Cophetua air.”]
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THE
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TRIMMED LAMP
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AND OTHER STORIES OF
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THE FOUR MILLION
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BY
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O. HENRY
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_Author of “The Four Million,” “The Voice of the
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City,” “Strictly Business,” “Whirligigs,”
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“Sixes and Sevens,” Etc._
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CONTENTS
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THE TRIMMED LAMP
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A MADISON SQUARE ARABIAN NIGHT
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THE RUBAIYAT OF A SCOTCH HIGHBALL
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THE PENDULUM
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TWO THANKSGIVING DAY GENTLEMEN
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THE ASSESSOR OF SUCCESS
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THE BUYER FROM CACTUS CITY
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THE BADGE OF POLICEMAN O’ROON
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BRICKDUST ROW
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THE MAKING OF A NEW YORKER
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VANITY AND SOME SABLES
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THE SOCIAL TRIANGLE
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THE PURPLE DRESS
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THE FOREIGN POLICY OF COMPANY 99
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THE LOST BLEND
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A HARLEM TRAGEDY
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“THE GUILTY PARTY”—AN EAST SIDE TRAGEDY
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ACCORDING TO THEIR LIGHTS
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A MIDSUMMER KNIGHT’S DREAM
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THE LAST LEAF
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THE COUNT AND THE WEDDING GUEST
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THE COUNTRY OF ELUSION
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THE FERRY OF UNFULFILMENT
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THE TALE OF A TAINTED TENNER
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ELSIE IN NEW YORK
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THE TRIMMED LAMP
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Of course there are two sides to the question. Let us look at the
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other. We often hear “shop-girls” spoken of. No such persons exist.
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There are girls who work in shops. They make their living that way. But
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why turn their occupation into an adjective? Let us be fair. We do not
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refer to the girls who live on Fifth Avenue as “marriage-girls.”
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Lou and Nancy were chums. They came to the big city to find work
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because there was not enough to eat at their homes to go around. Nancy
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was nineteen; Lou was twenty. Both were pretty, active, country girls
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who had no ambition to go on the stage.
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The little cherub that sits up aloft guided them to a cheap and
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respectable boarding-house. Both found positions and became
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wage-earners. They remained chums. It is at the end of six months that
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I would beg you to step forward and be introduced to them. Meddlesome
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Reader: My Lady friends, Miss Nancy and Miss Lou. While you are shaking
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hands please take notice—cautiously—of their attire. Yes, cautiously;
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for they are as quick to resent a stare as a lady in a box at the horse
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show is.
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Lou is a piece-work ironer in a hand laundry. She is clothed in a
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badly-fitting purple dress, and her hat plume is four inches too long;
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but her ermine muff and scarf cost $25, and its fellow beasts will be
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ticketed in the windows at $7.98 before the season is over. Her cheeks
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are pink, and her light blue eyes bright. Contentment radiates from
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her.
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Nancy you would call a shop-girl—because you have the habit. There is
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no type; but a perverse generation is always seeking a type; so this is
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what the type should be. She has the high-ratted pompadour, and the
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exaggerated straight-front. Her skirt is shoddy, but has the correct
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flare. No furs protect her against the bitter spring air, but she wears
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her short broadcloth jacket as jauntily as though it were Persian lamb!
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On her face and in her eyes, remorseless type-seeker, is the typical
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shop-girl expression. It is a look of silent but contemptuous revolt
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against cheated womanhood; of sad prophecy of the vengeance to come.
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When she laughs her loudest the look is still there. The same look can
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be seen in the eyes of Russian peasants; and those of us left will see
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it some day on Gabriel’s face when he comes to blow us up. It is a look
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that should wither and abash man; but he has been known to smirk at it
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and offer flowers—with a string tied to them.
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Now lift your hat and come away, while you receive Lou’s cheery “See
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you again,” and the sardonic, sweet smile of Nancy that seems, somehow,
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to miss you and go fluttering like a white moth up over the housetops
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to the stars.
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The two waited on the corner for Dan. Dan was Lou’s steady company.
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Faithful? Well, he was on hand when Mary would have had to hire a dozen
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subpoena servers to find her lamb.
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“Ain’t you cold, Nance?” said Lou. “Say, what a chump you are for
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working in that old store for $8 a week! I made $18.50 last week. Of
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course ironing ain’t as swell work as selling lace behind a counter,
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but it pays. None of us ironers make less than $10. And I don’t know
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that it’s any less respectful work, either.”
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“You can have it,” said Nancy, with uplifted nose. “I’ll take my eight
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a week and hall bedroom. I like to be among nice things and swell
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people. And look what a chance I’ve got! Why, one of our glove girls
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married a Pittsburg—steel maker, or blacksmith or something—the other
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day worth a million dollars. I’ll catch a swell myself some time. I
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ain’t bragging on my looks or anything; but I’ll take my chances where
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there’s big prizes offered. What show would a girl have in a laundry?”
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“Why, that’s where I met Dan,” said Lou, triumphantly. “He came in for
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his Sunday shirt and collars and saw me at the first board, ironing. We
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all try to get to work at the first board. Ella Maginnis was sick that
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day, and I had her place. He said he noticed my arms first, how round
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and white they was. I had my sleeves rolled up. Some nice fellows come
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into laundries. You can tell ’em by their bringing their clothes in
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suit cases; and turning in the door sharp and sudden.”
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“How can you wear a waist like that, Lou?” said Nancy, gazing down at
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the offending article with sweet scorn in her heavy-lidded eyes. “It
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shows fierce taste.”
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“This waist?” cried Lou, with wide-eyed indignation. “Why, I paid $16
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for this waist. It’s worth twenty-five. A woman left it to be
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laundered, and never called for it. The boss sold it to me. It’s got
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yards and yards of hand embroidery on it. Better talk about that ugly,
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plain thing you’ve got on.”
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“This ugly, plain thing,” said Nancy, calmly, “was copied from one that
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Mrs. Van Alstyne Fisher was wearing. The girls say her bill in the
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store last year was $12,000. I made mine, myself. It cost me $1.50. Ten
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feet away you couldn’t tell it from hers.”
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“Oh, well,” said Lou, good-naturedly, “if you want to starve and put on
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airs, go ahead. But I’ll take my job and good wages; and after hours
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give me something as fancy and attractive to wear as I am able to buy.”
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But just then Dan came—a serious young man with a ready-made necktie,
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who had escaped the city’s brand of frivolity—an electrician earning 30
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dollars per week who looked upon Lou with the sad eyes of Romeo, and
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thought her embroidered waist a web in which any fly should delight to
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be caught.
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“My friend, Mr. Owens—shake hands with Miss Danforth,” said Lou.
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“I’m mighty glad to know you, Miss Danforth,” said Dan, with
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outstretched hand. “I’ve heard Lou speak of you so often.”
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“Thanks,” said Nancy, touching his fingers with the tips of her cool
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ones, “I’ve heard her mention you—a few times.”
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Lou giggled.
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“Did you get that handshake from Mrs. Van Alstyne Fisher, Nance?” she
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asked.
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“If I did, you can feel safe in copying it,” said Nancy.
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“Oh, I couldn’t use it, at all. It’s too stylish for me. It’s intended
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to set off diamond rings, that high shake is. Wait till I get a few and
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then I’ll try it.”
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“Learn it first,” said Nancy wisely, “and you’ll be more likely to get
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the rings.”
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“Now, to settle this argument,” said Dan, with his ready, cheerful
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smile, “let me make a proposition. As I can’t take both of you up to
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Tiffany’s and do the right thing, what do you say to a little
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vaudeville? I’ve got the tickets. How about looking at stage diamonds
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since we can’t shake hands with the real sparklers?”
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The faithful squire took his place close to the curb; Lou next, a
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little peacocky in her bright and pretty clothes; Nancy on the inside,
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slender, and soberly clothed as the sparrow, but with the true Van
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Alstyne Fisher walk—thus they set out for their evening’s moderate
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diversion.
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I do not suppose that many look upon a great department store as an
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educational institution. But the one in which Nancy worked was
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something like that to her. She was surrounded by beautiful things that
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breathed of taste and refinement. If you live in an atmosphere of
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luxury, luxury is yours whether your money pays for it, or another’s.
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The people she served were mostly women whose dress, manners, and
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position in the social world were quoted as criterions. From them Nancy
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began to take toll—the best from each according to her view.
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From one she would copy and practice a gesture, from another an
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eloquent lifting of an eyebrow, from others, a manner of walking, of
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carrying a purse, of smiling, of greeting a friend, of addressing
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“inferiors in station.” From her best beloved model, Mrs. Van Alstyne
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Fisher, she made requisition for that excellent thing, a soft, low
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voice as clear as silver and as perfect in articulation as the notes of
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a thrush. Suffused in the aura of this high social refinement and good
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breeding, it was impossible for her to escape a deeper effect of it. As
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good habits are said to be better than good principles, so, perhaps,
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good manners are better than good habits. The teachings of your parents
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may not keep alive your New England conscience; but if you sit on a
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straight-back chair and repeat the words “prisms and pilgrims” forty
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times the devil will flee from you. And when Nancy spoke in the Van
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Alstyne Fisher tones she felt the thrill of _noblesse oblige_ to her
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very bones.
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There was another source of learning in the great departmental school.
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Whenever you see three or four shop-girls gather in a bunch and jingle
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their wire bracelets as an accompaniment to apparently frivolous
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conversation, do not think that they are there for the purpose of
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criticizing the way Ethel does her back hair. The meeting may lack the
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dignity of the deliberative bodies of man; but it has all the
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importance of the occasion on which Eve and her first daughter first
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put their heads together to make Adam understand his proper place in
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the household. It is Woman’s Conference for Common Defense and Exchange
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of Strategical Theories of Attack and Repulse upon and against the
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World, which is a Stage, and Man, its Audience who Persists in Throwing
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Bouquets Thereupon. Woman, the most helpless of the young of any
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animal—with the fawn’s grace but without its fleetness; with the bird’s
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beauty but without its power of flight; with the honey-bee’s burden of
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sweetness but without its—Oh, let’s drop that simile—some of us may
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have been stung.
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During this council of war they pass weapons one to another, and
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exchange stratagems that each has devised and formulated out of the
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tactics of life.
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“I says to ’im,” says Sadie, “ain’t you the fresh thing! Who do you
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suppose I am, to be addressing such a remark to me? And what do you
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think he says back to me?”
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The heads, brown, black, flaxen, red, and yellow bob together; the
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answer is given; and the parry to the thrust is decided upon, to be
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used by each thereafter in passages-at-arms with the common enemy, man.
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Thus Nancy learned the art of defense; and to women successful defense
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means victory.
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The curriculum of a department store is a wide one. Perhaps no other
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college could have fitted her as well for her life’s ambition—the
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drawing of a matrimonial prize.
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Her station in the store was a favored one. The music room was near
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enough for her to hear and become familiar with the works of the best
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composers—at least to acquire the familiarity that passed for
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appreciation in the social world in which she was vaguely trying to set
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a tentative and aspiring foot. She absorbed the educating influence of
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art wares, of costly and dainty fabrics, of adornments that are almost
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culture to women.
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The other girls soon became aware of Nancy’s ambition. “Here comes your
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millionaire, Nancy,” they would call to her whenever any man who looked
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the rôle approached her counter. It got to be a habit of men, who were
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hanging about while their women folk were shopping, to stroll over to
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the handkerchief counter and dawdle over the cambric squares. Nancy’s
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imitation high-bred air and genuine dainty beauty was what attracted.
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Many men thus came to display their graces before her. Some of them may
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have been millionaires; others were certainly no more than their
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sedulous apes. Nancy learned to discriminate. There was a window at the
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end of the handkerchief counter; and she could see the rows of vehicles
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waiting for the shoppers in the street below. She looked and perceived
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that automobiles differ as well as do their owners.
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Once a fascinating gentleman bought four dozen handkerchiefs, and wooed
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her across the counter with a King Cophetua air. When he had gone one
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of the girls said:
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“What’s wrong, Nance, that you didn’t warm up to that fellow. He looks
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the swell article, all right, to me.”
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“Him?” said Nancy, with her coolest, sweetest, most impersonal, Van
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Alstyne Fisher smile; “not for mine. I saw him drive up outside. A 12
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H. P. machine and an Irish chauffeur! And you saw what kind of
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handkerchiefs he bought—silk! And he’s got dactylis on him. Give me the
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real thing or nothing, if you please.”
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Two of the most “refined” women in the store—a forelady and a
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cashier—had a few “swell gentlemen friends” with whom they now and then
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dined. Once they included Nancy in an invitation. The dinner took place
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in a spectacular café whose tables are engaged for New Year’s eve a
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year in advance. There were two “gentlemen friends”—one without any
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hair on his head—high living ungrew it; and we can prove it—the other a
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young man whose worth and sophistication he impressed upon you in two
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convincing ways—he swore that all the wine was corked; and he wore
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diamond cuff buttons. This young man perceived irresistible
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excellencies in Nancy. His taste ran to shop-girls; and here was one
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that added the voice and manners of his high social world to the
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franker charms of her own caste. So, on the following day, he appeared
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in the store and made her a serious proposal of marriage over a box of
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hem-stitched, grass-bleached Irish linens. Nancy declined. A brown
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pompadour ten feet away had been using her eyes and ears. When the
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rejected suitor had gone she heaped carboys of upbraidings and horror
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upon Nancy’s head.
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“What a terrible little fool you are! That fellow’s a millionaire—he’s
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a nephew of old Van Skittles himself. And he was talking on the level,
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too. Have you gone crazy, Nance?”
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“Have I?” said Nancy. “I didn’t take him, did I? He isn’t a millionaire
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so hard that you could notice it, anyhow. His family only allows him
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$20,000 a year to spend. The bald-headed fellow was guying him about it
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the other night at supper.”
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The brown pompadour came nearer and narrowed her eyes.
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“Say, what do you want?” she inquired, in a voice hoarse for lack of
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chewing-gum. “Ain’t that enough for you? Do you want to be a Mormon,
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and marry Rockefeller and Gladstone Dowie and the King of Spain and the
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whole bunch? Ain’t $20,000 a year good enough for you?”
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Nancy flushed a little under the level gaze of the black, shallow eyes.
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“It wasn’t altogether the money, Carrie,” she explained. “His friend
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caught him in a rank lie the other night at dinner. It was about some
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girl he said he hadn’t been to the theater with. Well, I can’t stand a
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liar. Put everything together—I don’t like him; and that settles it.
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When I sell out it’s not going to be on any bargain day. I’ve got to
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have something that sits up in a chair like a man, anyhow. Yes, I’m
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looking out for a catch; but it’s got to be able to do something more
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than make a noise like a toy bank.”
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“The physiopathic ward for yours!” said the brown pompadour, walking
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away.
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These high ideas, if not ideals—Nancy continued to cultivate on $8. per
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week. She bivouacked on the trail of the great unknown “catch,” eating
|
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her dry bread and tightening her belt day by day. On her face was the
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faint, soldierly, sweet, grim smile of the preordained man-hunter. The
|
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store was her forest; and many times she raised her rifle at game that
|
||
seemed broad-antlered and big; but always some deep unerring
|
||
instinct—perhaps of the huntress, perhaps of the woman—made her hold
|
||
her fire and take up the trail again.
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||
Lou flourished in the laundry. Out of her $18.50 per week she paid $6.
|
||
for her room and board. The rest went mainly for clothes. Her
|
||
opportunities for bettering her taste and manners were few compared
|
||
with Nancy’s. In the steaming laundry there was nothing but work, work
|
||
and her thoughts of the evening pleasures to come. Many costly and
|
||
showy fabrics passed under her iron; and it may be that her growing
|
||
fondness for dress was thus transmitted to her through the conducting
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metal.
|
||
|
||
When the day’s work was over Dan awaited her outside, her faithful
|
||
shadow in whatever light she stood.
|
||
|
||
Sometimes he cast an honest and troubled glance at Lou’s clothes that
|
||
increased in conspicuity rather than in style; but this was no
|
||
disloyalty; he deprecated the attention they called to her in the
|
||
streets.
|
||
|
||
And Lou was no less faithful to her chum. There was a law that Nancy
|
||
should go with them on whatsoever outings they might take. Dan bore the
|
||
extra burden heartily and in good cheer. It might be said that Lou
|
||
furnished the color, Nancy the tone, and Dan the weight of the
|
||
distraction-seeking trio. The escort, in his neat but obviously
|
||
ready-made suit, his ready-made tie and unfailing, genial, ready-made
|
||
wit never startled or clashed. He was of that good kind that you are
|
||
likely to forget while they are present, but remember distinctly after
|
||
they are gone.
|
||
|
||
To Nancy’s superior taste the flavor of these ready-made pleasures was
|
||
sometimes a little bitter: but she was young; and youth is a gourmand,
|
||
when it cannot be a gourmet.
|
||
|
||
“Dan is always wanting me to marry him right away,” Lou told her once.
|
||
“But why should I? I’m independent. I can do as I please with the money
|
||
I earn; and he never would agree for me to keep on working afterward.
|
||
And say, Nance, what do you want to stick to that old store for, and
|
||
half starve and half dress yourself? I could get you a place in the
|
||
laundry right now if you’d come. It seems to me that you could afford
|
||
to be a little less stuck-up if you could make a good deal more money.”
|
||
|
||
“I don’t think I’m stuck-up, Lou,” said Nancy, “but I’d rather live on
|
||
half rations and stay where I am. I suppose I’ve got the habit. It’s
|
||
the chance that I want. I don’t expect to be always behind a counter.
|
||
I’m learning something new every day. I’m right up against refined and
|
||
rich people all the time—even if I do only wait on them; and I’m not
|
||
missing any pointers that I see passing around.”
|
||
|
||
“Caught your millionaire yet?” asked Lou with her teasing laugh.
|
||
|
||
“I haven’t selected one yet,” answered Nancy. “I’ve been looking them
|
||
over.”
|
||
|
||
“Goodness! the idea of picking over ’em! Don’t you ever let one get by
|
||
you Nance—even if he’s a few dollars shy. But of course you’re
|
||
joking—millionaires don’t think about working girls like us.”
|
||
|
||
“It might be better for them if they did,” said Nancy, with cool
|
||
wisdom. “Some of us could teach them how to take care of their money.”
|
||
|
||
“If one was to speak to me,” laughed Lou, “I know I’d have a duck-fit.”
|
||
|
||
“That’s because you don’t know any. The only difference between swells
|
||
and other people is you have to watch ’em closer. Don’t you think that
|
||
red silk lining is just a little bit too bright for that coat, Lou?”
|
||
|
||
Lou looked at the plain, dull olive jacket of her friend.
|
||
|
||
“Well, no I don’t—but it may seem so beside that faded-looking thing
|
||
you’ve got on.”
|
||
|
||
“This jacket,” said Nancy, complacently, “has exactly the cut and fit
|
||
of one that Mrs. Van Alstyne Fisher was wearing the other day. The
|
||
material cost me $3.98. I suppose hers cost about $100. more.”
|
||
|
||
“Oh, well,” said Lou lightly, “it don’t strike me as millionaire bait.
|
||
Shouldn’t wonder if I catch one before you do, anyway.”
|
||
|
||
Truly it would have taken a philosopher to decide upon the values of
|
||
the theories held by the two friends. Lou, lacking that certain pride
|
||
and fastidiousness that keeps stores and desks filled with girls
|
||
working for the barest living, thumped away gaily with her iron in the
|
||
noisy and stifling laundry. Her wages supported her even beyond the
|
||
point of comfort; so that her dress profited until sometimes she cast a
|
||
sidelong glance of impatience at the neat but inelegant apparel of
|
||
Dan—Dan the constant, the immutable, the undeviating.
|
||
|
||
As for Nancy, her case was one of tens of thousands. Silk and jewels
|
||
and laces and ornaments and the perfume and music of the fine world of
|
||
good-breeding and taste—these were made for woman; they are her
|
||
equitable portion. Let her keep near them if they are a part of life to
|
||
her, and if she will. She is no traitor to herself, as Esau was; for
|
||
she keeps her birthright and the pottage she earns is often very scant.
|
||
|
||
In this atmosphere Nancy belonged; and she throve in it and ate her
|
||
frugal meals and schemed over her cheap dresses with a determined and
|
||
contented mind. She already knew woman; and she was studying man, the
|
||
animal, both as to his habits and eligibility. Some day she would bring
|
||
down the game that she wanted; but she promised herself it would be
|
||
what seemed to her the biggest and the best, and nothing smaller.
|
||
|
||
Thus she kept her lamp trimmed and burning to receive the bridegroom
|
||
when he should come.
|
||
|
||
But, another lesson she learned, perhaps unconsciously. Her standard of
|
||
values began to shift and change. Sometimes the dollar-mark grew
|
||
blurred in her mind’s eye, and shaped itself into letters that spelled
|
||
such words as “truth” and “honor” and now and then just “kindness.” Let
|
||
us make a likeness of one who hunts the moose or elk in some mighty
|
||
wood. He sees a little dell, mossy and embowered, where a rill
|
||
trickles, babbling to him of rest and comfort. At these times the spear
|
||
of Nimrod himself grows blunt.
|
||
|
||
So, Nancy wondered sometimes if Persian lamb was always quoted at its
|
||
market value by the hearts that it covered.
|
||
|
||
One Thursday evening Nancy left the store and turned across Sixth
|
||
Avenue westward to the laundry. She was expected to go with Lou and Dan
|
||
to a musical comedy.
|
||
|
||
Dan was just coming out of the laundry when she arrived. There was a
|
||
queer, strained look on his face.
|
||
|
||
“I thought I would drop around to see if they had heard from her,” he
|
||
said.
|
||
|
||
“Heard from who?” asked Nancy. “Isn’t Lou there?”
|
||
|
||
“I thought you knew,” said Dan. “She hasn’t been here or at the house
|
||
where she lived since Monday. She moved all her things from there. She
|
||
told one of the girls in the laundry she might be going to Europe.”
|
||
|
||
“Hasn’t anybody seen her anywhere?” asked Nancy.
|
||
|
||
Dan looked at her with his jaws set grimly, and a steely gleam in his
|
||
steady gray eyes.
|
||
|
||
“They told me in the laundry,” he said, harshly, “that they saw her
|
||
pass yesterday—in an automobile. With one of the millionaires, I
|
||
suppose, that you and Lou were forever busying your brains about.”
|
||
|
||
For the first time Nancy quailed before a man. She laid her hand that
|
||
trembled slightly on Dan’s sleeve.
|
||
|
||
“You’ve no right to say such a thing to me, Dan—as if I had anything to
|
||
do with it!”
|
||
|
||
“I didn’t mean it that way,” said Dan, softening. He fumbled in his
|
||
vest pocket.
|
||
|
||
“I’ve got the tickets for the show to-night,” he said, with a gallant
|
||
show of lightness. “If you—”
|
||
|
||
Nancy admired pluck whenever she saw it.
|
||
|
||
“I’ll go with you, Dan,” she said.
|
||
|
||
Three months went by before Nancy saw Lou again.
|
||
|
||
At twilight one evening the shop-girl was hurrying home along the
|
||
border of a little quiet park. She heard her name called, and wheeled
|
||
about in time to catch Lou rushing into her arms.
|
||
|
||
After the first embrace they drew their heads back as serpents do,
|
||
ready to attack or to charm, with a thousand questions trembling on
|
||
their swift tongues. And then Nancy noticed that prosperity had
|
||
descended upon Lou, manifesting itself in costly furs, flashing gems,
|
||
and creations of the tailors’ art.
|
||
|
||
“You little fool!” cried Lou, loudly and affectionately. “I see you are
|
||
still working in that store, and as shabby as ever. And how about that
|
||
big catch you were going to make—nothing doing yet, I suppose?”
|
||
|
||
And then Lou looked, and saw that something better than prosperity had
|
||
descended upon Nancy—something that shone brighter than gems in her
|
||
eyes and redder than a rose in her cheeks, and that danced like
|
||
electricity anxious to be loosed from the tip of her tongue.
|
||
|
||
“Yes, I’m still in the store,” said Nancy, “but I’m going to leave it
|
||
next week. I’ve made my catch—the biggest catch in the world. You won’t
|
||
mind now Lou, will you?—I’m going to be married to Dan—to Dan!—he’s my
|
||
Dan now—why, Lou!”
|
||
|
||
Around the corner of the park strolled one of those new-crop,
|
||
smooth-faced young policemen that are making the force more
|
||
endurable—at least to the eye. He saw a woman with an expensive fur
|
||
coat, and diamond-ringed hands crouching down against the iron fence of
|
||
the park sobbing turbulently, while a slender, plainly-dressed working
|
||
girl leaned close, trying to console her. But the Gibsonian cop, being
|
||
of the new order, passed on, pretending not to notice, for he was wise
|
||
enough to know that these matters are beyond help so far as the power
|
||
he represents is concerned, though he rap the pavement with his
|
||
nightstick till the sound goes up to the furthermost stars.
|
||
|
||
|
||
|
||
|
||
A MADISON SQUARE ARABIAN NIGHT
|
||
|
||
|
||
To Carson Chalmers, in his apartment near the square, Phillips brought
|
||
the evening mail. Beside the routine correspondence there were two
|
||
items bearing the same foreign postmark.
|
||
|
||
One of the incoming parcels contained a photograph of a woman. The
|
||
other contained an interminable letter, over which Chalmers hung,
|
||
absorbed, for a long time. The letter was from another woman; and it
|
||
contained poisoned barbs, sweetly dipped in honey, and feathered with
|
||
innuendoes concerning the photographed woman.
|
||
|
||
Chalmers tore this letter into a thousand bits and began to wear out
|
||
his expensive rug by striding back and forth upon it. Thus an animal
|
||
from the jungle acts when it is caged, and thus a caged man acts when
|
||
he is housed in a jungle of doubt.
|
||
|
||
By and by the restless mood was overcome. The rug was not an enchanted
|
||
one. For sixteen feet he could travel along it; three thousand miles
|
||
was beyond its power to aid.
|
||
|
||
Phillips appeared. He never entered; he invariably appeared, like a
|
||
well-oiled genie.
|
||
|
||
“Will you dine here, sir, or out?” he asked.
|
||
|
||
“Here,” said Chalmers, “and in half an hour.” He listened glumly to the
|
||
January blasts making an Aeolian trombone of the empty street.
|
||
|
||
“Wait,” he said to the disappearing genie. “As I came home across the
|
||
end of the square I saw many men standing there in rows. There was one
|
||
mounted upon something, talking. Why do those men stand in rows, and
|
||
why are they there?”
|
||
|
||
“They are homeless men, sir,” said Phillips. “The man standing on the
|
||
box tries to get lodging for them for the night. People come around to
|
||
listen and give him money. Then he sends as many as the money will pay
|
||
for to some lodging-house. That is why they stand in rows; they get
|
||
sent to bed in order as they come.”
|
||
|
||
“By the time dinner is served,” said Chalmers, “have one of those men
|
||
here. He will dine with me.”
|
||
|
||
“W-w-which—,” began Phillips, stammering for the first time during his
|
||
service.
|
||
|
||
“Choose one at random,” said Chalmers. “You might see that he is
|
||
reasonably sober—and a certain amount of cleanliness will not be held
|
||
against him. That is all.”
|
||
|
||
It was an unusual thing for Carson Chalmers to play the Caliph. But on
|
||
that night he felt the inefficacy of conventional antidotes to
|
||
melancholy. Something wanton and egregious, something high-flavored and
|
||
Arabian, he must have to lighten his mood.
|
||
|
||
On the half hour Phillips had finished his duties as slave of the lamp.
|
||
The waiters from the restaurant below had whisked aloft the delectable
|
||
dinner. The dining table, laid for two, glowed cheerily in the glow of
|
||
the pink-shaded candles.
|
||
|
||
And now Phillips, as though he ushered a cardinal—or held in charge a
|
||
burglar—wafted in the shivering guest who had been haled from the line
|
||
of mendicant lodgers.
|
||
|
||
It is a common thing to call such men wrecks; if the comparison be used
|
||
here it is the specific one of a derelict come to grief through fire.
|
||
Even yet some flickering combustion illuminated the drifting hulk. His
|
||
face and hands had been recently washed—a rite insisted upon by
|
||
Phillips as a memorial to the slaughtered conventions. In the
|
||
candle-light he stood, a flaw in the decorous fittings of the
|
||
apartment. His face was a sickly white, covered almost to the eyes with
|
||
a stubble the shade of a red Irish setter’s coat. Phillips’s comb had
|
||
failed to control the pale brown hair, long matted and conformed to the
|
||
contour of a constantly worn hat. His eyes were full of a hopeless,
|
||
tricky defiance like that seen in a cur’s that is cornered by his
|
||
tormentors. His shabby coat was buttoned high, but a quarter inch of
|
||
redeeming collar showed above it. His manner was singularly free from
|
||
embarrassment when Chalmers rose from his chair across the round dining
|
||
table.
|
||
|
||
“If you will oblige me,” said the host, “I will be glad to have your
|
||
company at dinner.”
|
||
|
||
“My name is Plumer,” said the highway guest, in harsh and aggressive
|
||
tones. “If you’re like me, you like to know the name of the party
|
||
you’re dining with.”
|
||
|
||
“I was going on to say,” continued Chalmers somewhat hastily, “that
|
||
mine is Chalmers. Will you sit opposite?”
|
||
|
||
Plumer, of the ruffled plumes, bent his knee for Phillips to slide the
|
||
chair beneath him. He had an air of having sat at attended boards
|
||
before. Phillips set out the anchovies and olives.
|
||
|
||
“Good!” barked Plumer; “going to be in courses, is it? All right, my
|
||
jovial ruler of Bagdad. I’m your Scheherezade all the way to the
|
||
toothpicks. You’re the first Caliph with a genuine Oriental flavor I’ve
|
||
struck since frost. What luck! And I was forty-third in line. I
|
||
finished counting, just as your welcome emissary arrived to bid me to
|
||
the feast. I had about as much chance of getting a bed to-night as I
|
||
have of being the next President. How will you have the sad story of my
|
||
life, Mr. Al Raschid—a chapter with each course or the whole edition
|
||
with the cigars and coffee?”
|
||
|
||
“The situation does not seem a novel one to you,” said Chalmers with a
|
||
smile.
|
||
|
||
“By the chin whiskers of the prophet—no!” answered the guest. “New
|
||
York’s as full of cheap Haroun al Raschids as Bagdad is of fleas. I’ve
|
||
been held up for my story with a loaded meal pointed at my head twenty
|
||
times. Catch anybody in New York giving you something for nothing! They
|
||
spell curiosity and charity with the same set of building blocks. Lots
|
||
of ’em will stake you to a dime and chop-suey; and a few of ’em will
|
||
play Caliph to the tune of a top sirloin; but every one of ’em will
|
||
stand over you till they screw your autobiography out of you with foot
|
||
notes, appendix and unpublished fragments. Oh, I know what to do when I
|
||
see victuals coming toward me in little old Bagdad-on-the-Subway. I
|
||
strike the asphalt three times with my forehead and get ready to spiel
|
||
yarns for my supper. I claim descent from the late Tommy Tucker, who
|
||
was forced to hand out vocal harmony for his pre-digested wheaterina
|
||
and spoopju.”
|
||
|
||
“I do not ask your story,” said Chalmers. “I tell you frankly that it
|
||
was a sudden whim that prompted me to send for some stranger to dine
|
||
with me. I assure you you will not suffer through any curiosity of
|
||
mine.”
|
||
|
||
“Oh, fudge!” exclaimed the guest, enthusiastically tackling his soup;
|
||
“I don’t mind it a bit. I’m a regular Oriental magazine with a red
|
||
cover and the leaves cut when the Caliph walks abroad. In fact, we
|
||
fellows in the bed line have a sort of union rate for things of this
|
||
sort. Somebody’s always stopping and wanting to know what brought us
|
||
down so low in the world. For a sandwich and a glass of beer I tell ’em
|
||
that drink did it. For corned beef and cabbage and a cup of coffee I
|
||
give ’em the hard-hearted-landlord—six-months-in-the-hospital-lost-job
|
||
story. A sirloin steak and a quarter for a bed gets the Wall Street
|
||
tragedy of the swept-away fortune and the gradual descent. This is the
|
||
first spread of this kind I’ve stumbled against. I haven’t got a story
|
||
to fit it. I’ll tell you what, Mr. Chalmers, I’m going to tell you the
|
||
truth for this, if you’ll listen to it. It’ll be harder for you to
|
||
believe than the made-up ones.”
|
||
|
||
An hour later the Arabian guest lay back with a sigh of satisfaction
|
||
while Phillips brought the coffee and cigars and cleared the table.
|
||
|
||
“Did you ever hear of Sherrard Plumer?” he asked, with a strange smile.
|
||
|
||
“I remember the name,” said Chalmers. “He was a painter, I think, of a
|
||
good deal of prominence a few years ago.”
|
||
|
||
“Five years,” said the guest. “Then I went down like a chunk of lead.
|
||
I’m Sherrard Plumer! I sold the last portrait I painted for $2,000.
|
||
After that I couldn’t have found a sitter for a gratis picture.”
|
||
|
||
“What was the trouble?” Chalmers could not resist asking.
|
||
|
||
“Funny thing,” answered Plumer, grimly. “Never quite understood it
|
||
myself. For a while I swam like a cork. I broke into the swell crowd
|
||
and got commissions right and left. The newspapers called me a
|
||
fashionable painter. Then the funny things began to happen. Whenever I
|
||
finished a picture people would come to see it, and whisper and look
|
||
queerly at one another.”
|
||
|
||
“I soon found out what the trouble was. I had a knack of bringing out
|
||
in the face of a portrait the hidden character of the original. I don’t
|
||
know how I did it—I painted what I saw—but I know it did me. Some of my
|
||
sitters were fearfully enraged and refused their pictures. I painted
|
||
the portrait of a very beautiful and popular society dame. When it was
|
||
finished her husband looked at it with a peculiar expression on his
|
||
face, and the next week he sued for divorce.”
|
||
|
||
“I remember one case of a prominent banker who sat to me. While I had
|
||
his portrait on exhibition in my studio an acquaintance of his came in
|
||
to look at it. ‘Bless me,’ says he, ‘does he really look like that?” I
|
||
told him it was considered a faithful likeness. ‘I never noticed that
|
||
expression about his eyes before,’ said he; ‘I think I’ll drop downtown
|
||
and change my bank account.’ He did drop down, but the bank account was
|
||
gone and so was Mr. Banker.
|
||
|
||
“It wasn’t long till they put me out of business. People don’t want
|
||
their secret meannesses shown up in a picture. They can smile and twist
|
||
their own faces and deceive you, but the picture can’t. I couldn’t get
|
||
an order for another picture, and I had to give up. I worked as a
|
||
newspaper artist for a while, and then for a lithographer, but my work
|
||
with them got me into the same trouble. If I drew from a photograph my
|
||
drawing showed up characteristics and expressions that you couldn’t
|
||
find in the photo, but I guess they were in the original, all right.
|
||
The customers raised lively rows, especially the women, and I never
|
||
could hold a job long. So I began to rest my weary head upon the breast
|
||
of Old Booze for comfort. And pretty soon I was in the free-bed line
|
||
and doing oral fiction for hand-outs among the food bazaars. Does the
|
||
truthful statement weary thee, O Caliph? I can turn on the Wall Street
|
||
disaster stop if you prefer, but that requires a tear, and I’m afraid I
|
||
can’t hustle one up after that good dinner.”
|
||
|
||
“No, no,” said Chalmers, earnestly, “you interest me very much. Did all
|
||
of your portraits reveal some unpleasant trait, or were there some that
|
||
did not suffer from the ordeal of your peculiar brush?”
|
||
|
||
“Some? Yes,” said Plumer. “Children generally, a good many women and a
|
||
sufficient number of men. All people aren’t bad, you know. When they
|
||
were all right the pictures were all right. As I said, I don’t explain
|
||
it, but I’m telling you facts.”
|
||
|
||
On Chalmers’s writing-table lay the photograph that he had received
|
||
that day in the foreign mail. Ten minutes later he had Plumer at work
|
||
making a sketch from it in pastels. At the end of an hour the artist
|
||
rose and stretched wearily.
|
||
|
||
“It’s done,” he yawned. “You’ll excuse me for being so long. I got
|
||
interested in the job. Lordy! but I’m tired. No bed last night, you
|
||
know. Guess it’ll have to be good night now, O Commander of the
|
||
Faithful!”
|
||
|
||
Chalmers went as far as the door with him and slipped some bills into
|
||
his hand.
|
||
|
||
“Oh! I’ll take ’em,” said Plumer. “All that’s included in the fall.
|
||
Thanks. And for the very good dinner. I shall sleep on feathers
|
||
to-night and dream of Bagdad. I hope it won’t turn out to be a dream in
|
||
the morning. Farewell, most excellent Caliph!”
|
||
|
||
Again Chalmers paced restlessly upon his rug. But his beat lay as far
|
||
from the table whereon lay the pastel sketch as the room would permit.
|
||
Twice, thrice, he tried to approach it, but failed. He could see the
|
||
dun and gold and brown of the colors, but there was a wall about it
|
||
built by his fears that kept him at a distance. He sat down and tried
|
||
to calm himself. He sprang up and rang for Phillips.
|
||
|
||
“There is a young artist in this building,” he said. “—a Mr.
|
||
Reineman—do you know which is his apartment?”
|
||
|
||
“Top floor, front, sir,” said Phillips.
|
||
|
||
“Go up and ask him to favor me with his presence here for a few
|
||
minutes.”
|
||
|
||
Reineman came at once. Chalmers introduced himself.
|
||
|
||
“Mr. Reineman,” said he, “there is a little pastel sketch on yonder
|
||
table. I would be glad if you will give me your opinion of it as to its
|
||
artistic merits and as a picture.”
|
||
|
||
The young artist advanced to the table and took up the sketch. Chalmers
|
||
half turned away, leaning upon the back of a chair.
|
||
|
||
“How—do—you find it?” he asked, slowly.
|
||
|
||
“As a drawing,” said the artist, “I can’t praise it enough. It’s the
|
||
work of a master—bold and fine and true. It puzzles me a little; I
|
||
haven’t seen any pastel work near as good in years.”
|
||
|
||
“The face, man—the subject—the original—what would you say of that?”
|
||
|
||
“The face,” said Reineman, “is the face of one of God’s own angels. May
|
||
I ask who—”
|
||
|
||
“My wife!” shouted Chalmers, wheeling and pouncing upon the astonished
|
||
artist, gripping his hand and pounding his back. “She is traveling in
|
||
Europe. Take that sketch, boy, and paint the picture of your life from
|
||
it and leave the price to me.”
|
||
|
||
|
||
|
||
|
||
THE RUBAIYAT OF A SCOTCH HIGHBALL
|
||
|
||
|
||
This document is intended to strike somewhere between a temperance
|
||
lecture and the “Bartender’s Guide.” Relative to the latter, drink
|
||
shall swell the theme and be set forth in abundance. Agreeably to the
|
||
former, not an elbow shall be crooked.
|
||
|
||
Bob Babbitt was “off the stuff.” Which means—as you will discover by
|
||
referring to the unabridged dictionary of Bohemia—that he had “cut out
|
||
the booze;” that he was “on the water wagon.” The reason for Bob’s
|
||
sudden attitude of hostility toward the “demon rum”—as the white
|
||
ribboners miscall whiskey (see the “Bartender’s Guide”), should be of
|
||
interest to reformers and saloon-keepers.
|
||
|
||
There is always hope for a man who, when sober, will not concede or
|
||
acknowledge that he was ever drunk. But when a man will say (in the apt
|
||
words of the phrase-distiller), “I had a beautiful skate on last
|
||
night,” you will have to put stuff in his coffee as well as pray for
|
||
him.
|
||
|
||
One evening on his way home Babbitt dropped in at the Broadway bar that
|
||
he liked best. Always there were three or four fellows there from the
|
||
downtown offices whom he knew. And then there would be high-balls and
|
||
stories, and he would hurry home to dinner a little late but feeling
|
||
good, and a little sorry for the poor Standard Oil Company. On this
|
||
evening as he entered he heard some one say: “Babbitt was in last night
|
||
as full as a boiled owl.”
|
||
|
||
Babbitt walked to the bar, and saw in the mirror that his face was as
|
||
white as chalk. For the first time he had looked Truth in the eyes.
|
||
Others had lied to him; he had dissembled with himself. He was a
|
||
drunkard, and had not known it. What he had fondly imagined was a
|
||
pleasant exhilaration had been maudlin intoxication. His fancied wit
|
||
had been drivel; his gay humors nothing but the noisy vagaries of a
|
||
sot. But, never again!
|
||
|
||
“A glass of seltzer,” he said to the bartender.
|
||
|
||
A little silence fell upon the group of his cronies, who had been
|
||
expecting him to join them.
|
||
|
||
“Going off the stuff, Bob?” one of them asked politely and with more
|
||
formality than the highballs ever called forth.
|
||
|
||
“Yes,” said Babbitt.
|
||
|
||
Some one of the group took up the unwashed thread of a story he had
|
||
been telling; the bartender shoved over a dime and a nickel change from
|
||
the quarter, ungarnished with his customary smile; and Babbitt walked
|
||
out.
|
||
|
||
Now, Babbitt had a home and a wife—but that is another story. And I
|
||
will tell you that story, which will show you a better habit and a
|
||
worse story than you could find in the man who invented the phrase.
|
||
|
||
It began away up in Sullivan County, where so many rivers and so much
|
||
trouble begins—or begin; how would you say that? It was July, and
|
||
Jessie was a summer boarder at the Mountain Squint Hotel, and Bob, who
|
||
was just out of college, saw her one day—and they were married in
|
||
September. That’s the tabloid novel—one swallow of water, and it’s
|
||
gone.
|
||
|
||
But those July days!
|
||
|
||
Let the exclamation point expound it, for I shall not. For particulars
|
||
you might read up on “Romeo and Juliet,” and Abraham Lincoln’s
|
||
thrilling sonnet about “You can fool some of the people,” &c., and
|
||
Darwin’s works.
|
||
|
||
But one thing I must tell you about. Both of them were mad over Omar’s
|
||
Rubaiyat. They knew every verse of the old bluffer by heart—not
|
||
consecutively, but picking ’em out here and there as you fork the
|
||
mushrooms in a fifty-cent steak à la Bordelaise. Sullivan County is
|
||
full of rocks and trees; and Jessie used to sit on them, and—please be
|
||
good—used to sit on the rocks; and Bob had a way of standing behind her
|
||
with his hands over her shoulders holding her hands, and his face close
|
||
to hers, and they would repeat over and over their favorite verses of
|
||
the old tent-maker. They saw only the poetry and philosophy of the
|
||
lines then—indeed, they agreed that the Wine was only an image, and
|
||
that what was meant to be celebrated was some divinity, or maybe Love
|
||
or Life. However, at that time neither of them had tasted the stuff
|
||
that goes with a sixty-cent _table d’hôte_.
|
||
|
||
Where was I? Oh, they married and came to New York. Bob showed his
|
||
college diploma, and accepted a position filling inkstands in a
|
||
lawyer’s office at $15 a week. At the end of two years he had worked up
|
||
to $50, and gotten his first taste of Bohemia—the kind that won’t stand
|
||
the borax and formaldehyde tests.
|
||
|
||
They had two furnished rooms and a little kitchen. To Jess, accustomed
|
||
to the mild but beautiful savor of a country town, the dreggy Bohemia
|
||
was sugar and spice. She hung fish seines on the walls of her rooms,
|
||
and bought a rakish-looking sideboard, and learned to play the banjo.
|
||
Twice or thrice a week they dined at French or Italian _tables d’hôte_
|
||
in a cloud of smoke, and brag and unshorn hair. Jess learned to drink a
|
||
cocktail in order to get the cherry. At home she smoked a cigarette
|
||
after dinner. She learned to pronounce Chianti, and leave her olive
|
||
stones for the waiter to pick up. Once she essayed to say la, la, la!
|
||
in a crowd but got only as far as the second one. They met one or two
|
||
couples while dining out and became friendly with them. The sideboard
|
||
was stocked with Scotch and rye and a liqueur. They had their new
|
||
friends in to dinner and all were laughing at nothing by 1 A. M. Some
|
||
plastering fell in the room below them, for which Bob had to pay $4.50.
|
||
Thus they footed it merrily on the ragged frontiers of the country that
|
||
has no boundary lines or government.
|
||
|
||
And soon Bob fell in with his cronies and learned to keep his foot on
|
||
the little rail six inches above the floor for an hour or so every
|
||
afternoon before he went home. Drink always rubbed him the right way,
|
||
and he would reach his rooms as jolly as a sandboy. Jessie would meet
|
||
him at the door, and generally they would dance some insane kind of a
|
||
rigadoon about the floor by way of greeting. Once when Bob’s feet
|
||
became confused and he tumbled headlong over a foot-stool Jessie
|
||
laughed so heartily and long that he had to throw all the couch pillows
|
||
at her to make her hush.
|
||
|
||
In such wise life was speeding for them on the day when Bob Babbitt
|
||
first felt the power that the giftie gi’ed him.
|
||
|
||
But let us get back to our lamb and mint sauce.
|
||
|
||
When Bob got home that evening he found Jessie in a long apron cutting
|
||
up a lobster for the Newburg. Usually when Bob came in mellow from his
|
||
hour at the bar his welcome was hilarious, though somewhat tinctured
|
||
with Scotch smoke.
|
||
|
||
By screams and snatches of song and certain audible testimonials of
|
||
domestic felicity was his advent proclaimed. When she heard his foot on
|
||
the stairs the old maid in the hall room always stuffed cotton into her
|
||
ears. At first Jessie had shrunk from the rudeness and favor of these
|
||
spiritual greetings, but as the fog of the false Bohemia gradually
|
||
encompassed her she came to accept them as love’s true and proper
|
||
greeting.
|
||
|
||
Bob came in without a word, smiled, kissed her neatly but noiselessly,
|
||
took up a paper and sat down. In the hall room the old maid held her
|
||
two plugs of cotton poised, filled with anxiety.
|
||
|
||
Jessie dropped lobster and knife and ran to him with frightened eyes.
|
||
|
||
“What’s the matter, Bob, are you ill?”
|
||
|
||
“Not at all, dear.”
|
||
|
||
“Then what’s the matter with you?”
|
||
|
||
“Nothing.”
|
||
|
||
Hearken, brethren. When She-who-has-a-right-to-ask interrogates you
|
||
concerning a change she finds in your mood answer her thus: Tell her
|
||
that you, in a sudden rage, have murdered your grandmother; tell her
|
||
that you have robbed orphans and that remorse has stricken you; tell
|
||
her your fortune is swept away; that you are beset by enemies, by
|
||
bunions, by any kind of malevolent fate; but do not, if peace and
|
||
happiness are worth as much as a grain of mustard seed to you—do not
|
||
answer her “Nothing.”
|
||
|
||
Jessie went back to the lobster in silence. She cast looks of darkest
|
||
suspicion at Bob. He had never acted that way before.
|
||
|
||
When dinner was on the table she set out the bottle of Scotch and the
|
||
glasses. Bob declined.
|
||
|
||
“Tell you the truth, Jess,” he said. “I’ve cut out the drink. Help
|
||
yourself, of course. If you don’t mind I’ll try some of the seltzer
|
||
straight.”
|
||
|
||
“You’ve stopped drinking?” she said, looking at him steadily and
|
||
unsmilingly. “What for?”
|
||
|
||
“It wasn’t doing me any good,” said Bob. “Don’t you approve of the
|
||
idea?”
|
||
|
||
Jessie raised her eyebrows and one shoulder slightly.
|
||
|
||
“Entirely,” she said with a sculptured smile. “I could not
|
||
conscientiously advise any one to drink or smoke, or whistle on
|
||
Sunday.”
|
||
|
||
The meal was finished almost in silence. Bob tried to make talk, but
|
||
his efforts lacked the stimulus of previous evenings. He felt
|
||
miserable, and once or twice his eye wandered toward the bottle, but
|
||
each time the scathing words of his bibulous friend sounded in his ear,
|
||
and his mouth set with determination.
|
||
|
||
Jessie felt the change deeply. The essence of their lives seemed to
|
||
have departed suddenly. The restless fever, the false gayety, the
|
||
unnatural excitement of the shoddy Bohemia in which they had lived had
|
||
dropped away in the space of the popping of a cork. She stole curious
|
||
and forlorn glances at the dejected Bob, who bore the guilty look of at
|
||
least a wife-beater or a family tyrant.
|
||
|
||
After dinner the colored maid who came in daily to perform such chores
|
||
cleared away the things. Jessie, with an unreadable countenance,
|
||
brought back the bottle of Scotch and the glasses and a bowl of cracked
|
||
ice and set them on the table.
|
||
|
||
“May I ask,” she said, with some of the ice in her tones, “whether I am
|
||
to be included in your sudden spasm of goodness? If not, I’ll make one
|
||
for myself. It’s rather chilly this evening, for some reason.”
|
||
|
||
“Oh, come now, Jess,” said Bob good-naturedly, “don’t be too rough on
|
||
me. Help yourself, by all means. There’s no danger of your overdoing
|
||
it. But I thought there was with me; and that’s why I quit. Have yours,
|
||
and then let’s get out the banjo and try over that new quickstep.”
|
||
|
||
“I’ve heard,” said Jessie in the tones of the oracle, “that drinking
|
||
alone is a pernicious habit. No, I don’t think I feel like playing this
|
||
evening. If we are going to reform we may as well abandon the evil
|
||
habit of banjo-playing, too.”
|
||
|
||
She took up a book and sat in her little willow rocker on the other
|
||
side of the table. Neither of them spoke for half an hour.
|
||
|
||
And then Bob laid down his paper and got up with a strange, absent look
|
||
on his face and went behind her chair and reached over her shoulders,
|
||
taking her hands in his, and laid his face close to hers.
|
||
|
||
In a moment to Jessie the walls of the seine-hung room vanished, and
|
||
she saw the Sullivan County hills and rills. Bob felt her hands quiver
|
||
in his as he began the verse from old Omar:
|
||
|
||
“Come, fill the Cup, and in the Fire of Spring
|
||
The Winter Garment of Repentance fling:
|
||
The Bird of Time has but a little way
|
||
To fly—and Lo! the Bird is on the Wing!”
|
||
|
||
|
||
And then he walked to the table and poured a stiff drink of Scotch into
|
||
a glass.
|
||
|
||
But in that moment a mountain breeze had somehow found its way in and
|
||
blown away the mist of the false Bohemia.
|
||
|
||
Jessie leaped and with one fierce sweep of her hand sent the bottle and
|
||
glasses crashing to the floor. The same motion of her arm carried it
|
||
around Bob’s neck, where it met its mate and fastened tight.
|
||
|
||
“Oh, my God, Bobbie—not that verse—I see now. I wasn’t always such a
|
||
fool, was I? The other one, boy—the one that says: ‘Remould it to the
|
||
Heart’s Desire.’ Say that one—‘to the Heart’s Desire.’”
|
||
|
||
“I know that one,” said Bob. “It goes:
|
||
|
||
“‘Ah! Love, could you and I with Him conspire
|
||
To grasp this sorry Scheme of Things entire
|
||
Would not we—’”
|
||
|
||
|
||
“Let me finish it,” said Jessie.
|
||
|
||
“‘Would not we shatter it to bits—and then
|
||
Remould it nearer to the Heart’s Desire!’”
|
||
|
||
|
||
“It’s shattered all right,” said Bob, crunching some glass under his
|
||
heel.
|
||
|
||
In some dungeon below the accurate ear of Mrs. Pickens, the landlady,
|
||
located the smash.
|
||
|
||
“It’s that wild Mr. Babbitt coming home soused again,” she said. “And
|
||
he’s got such a nice little wife, too!”
|
||
|
||
|
||
|
||
|
||
THE PENDULUM
|
||
|
||
|
||
“Eighty-first street—let ’em out, please,” yelled the shepherd in blue.
|
||
|
||
A flock of citizen sheep scrambled out and another flock scrambled
|
||
aboard. Ding-ding! The cattle cars of the Manhattan Elevated rattled
|
||
away, and John Perkins drifted down the stairway of the station with
|
||
the released flock.
|
||
|
||
John walked slowly toward his flat. Slowly, because in the lexicon of
|
||
his daily life there was no such word as “perhaps.” There are no
|
||
surprises awaiting a man who has been married two years and lives in a
|
||
flat. As he walked John Perkins prophesied to himself with gloomy and
|
||
downtrodden cynicism the foregone conclusions of the monotonous day.
|
||
|
||
Katy would meet him at the door with a kiss flavored with cold cream
|
||
and butter-scotch. He would remove his coat, sit upon a macadamized
|
||
lounge and read, in the evening paper, of Russians and Japs slaughtered
|
||
by the deadly linotype. For dinner there would be pot roast, a salad
|
||
flavored with a dressing warranted not to crack or injure the leather,
|
||
stewed rhubarb and the bottle of strawberry marmalade blushing at the
|
||
certificate of chemical purity on its label. After dinner Katy would
|
||
show him the new patch in her crazy quilt that the iceman had cut for
|
||
her off the end of his four-in-hand. At half-past seven they would
|
||
spread newspapers over the furniture to catch the pieces of plastering
|
||
that fell when the fat man in the flat overhead began to take his
|
||
physical culture exercises. Exactly at eight Hickey & Mooney, of the
|
||
vaudeville team (unbooked) in the flat across the hall, would yield to
|
||
the gentle influence of delirium tremens and begin to overturn chairs
|
||
under the delusion that Hammerstein was pursuing them with a
|
||
five-hundred-dollar-a-week contract. Then the gent at the window across
|
||
the air-shaft would get out his flute; the nightly gas leak would steal
|
||
forth to frolic in the highways; the dumbwaiter would slip off its
|
||
trolley; the janitor would drive Mrs. Zanowitski’s five children once
|
||
more across the Yalu, the lady with the champagne shoes and the Skye
|
||
terrier would trip downstairs and paste her Thursday name over her bell
|
||
and letter-box—and the evening routine of the Frogmore flats would be
|
||
under way.
|
||
|
||
John Perkins knew these things would happen. And he knew that at a
|
||
quarter past eight he would summon his nerve and reach for his hat, and
|
||
that his wife would deliver this speech in a querulous tone:
|
||
|
||
“Now, where are you going, I’d like to know, John Perkins?”
|
||
|
||
“Thought I’d drop up to McCloskey’s,” he would answer, “and play a game
|
||
or two of pool with the fellows.”
|
||
|
||
Of late such had been John Perkins’s habit. At ten or eleven he would
|
||
return. Sometimes Katy would be asleep; sometimes waiting up, ready to
|
||
melt in the crucible of her ire a little more gold plating from the
|
||
wrought steel chains of matrimony. For these things Cupid will have to
|
||
answer when he stands at the bar of justice with his victims from the
|
||
Frogmore flats.
|
||
|
||
To-night John Perkins encountered a tremendous upheaval of the
|
||
commonplace when he reached his door. No Katy was there with her
|
||
affectionate, confectionate kiss. The three rooms seemed in portentous
|
||
disorder. All about lay her things in confusion. Shoes in the middle of
|
||
the floor, curling tongs, hair bows, kimonos, powder box, jumbled
|
||
together on dresser and chairs—this was not Katy’s way. With a sinking
|
||
heart John saw the comb with a curling cloud of her brown hair among
|
||
its teeth. Some unusual hurry and perturbation must have possessed her,
|
||
for she always carefully placed these combings in the little blue vase
|
||
on the mantel to be some day formed into the coveted feminine “rat.”
|
||
|
||
Hanging conspicuously to the gas jet by a string was a folded paper.
|
||
John seized it. It was a note from his wife running thus:
|
||
|
||
|
||
“Dear John: I just had a telegram saying mother is very sick. I am
|
||
going to take the 4.30 train. Brother Sam is going to meet me at the
|
||
depot there. There is cold mutton in the ice box. I hope it isn’t her
|
||
quinzy again. Pay the milkman 50 cents. She had it bad last spring.
|
||
Don’t forget to write to the company about the gas meter, and your good
|
||
socks are in the top drawer. I will write to-morrow.
|
||
|
||
Hastily,
|
||
KATY.”
|
||
|
||
|
||
Never during their two years of matrimony had he and Katy been
|
||
separated for a night. John read the note over and over in a
|
||
dumbfounded way. Here was a break in a routine that had never varied,
|
||
and it left him dazed.
|
||
|
||
There on the back of a chair hung, pathetically empty and formless, the
|
||
red wrapper with black dots that she always wore while getting the
|
||
meals. Her week-day clothes had been tossed here and there in her
|
||
haste. A little paper bag of her favorite butter-scotch lay with its
|
||
string yet unwound. A daily paper sprawled on the floor, gaping
|
||
rectangularly where a railroad time-table had been clipped from it.
|
||
Everything in the room spoke of a loss, of an essence gone, of its soul
|
||
and life departed. John Perkins stood among the dead remains with a
|
||
queer feeling of desolation in his heart.
|
||
|
||
He began to set the rooms tidy as well as he could. When he touched her
|
||
clothes a thrill of something like terror went through him. He had
|
||
never thought what existence would be without Katy. She had become so
|
||
thoroughly annealed into his life that she was like the air he
|
||
breathed—necessary but scarcely noticed. Now, without warning, she was
|
||
gone, vanished, as completely absent as if she had never existed. Of
|
||
course it would be only for a few days, or at most a week or two, but
|
||
it seemed to him as if the very hand of death had pointed a finger at
|
||
his secure and uneventful home.
|
||
|
||
John dragged the cold mutton from the ice-box, made coffee and sat down
|
||
to a lonely meal face to face with the strawberry marmalade’s shameless
|
||
certificate of purity. Bright among withdrawn blessings now appeared to
|
||
him the ghosts of pot roasts and the salad with tan polish dressing.
|
||
His home was dismantled. A quinzied mother-in-law had knocked his lares
|
||
and penates sky-high. After his solitary meal John sat at a front
|
||
window.
|
||
|
||
He did not care to smoke. Outside the city roared to him to come join
|
||
in its dance of folly and pleasure. The night was his. He might go
|
||
forth unquestioned and thrum the strings of jollity as free as any gay
|
||
bachelor there. He might carouse and wander and have his fling until
|
||
dawn if he liked; and there would be no wrathful Katy waiting for him,
|
||
bearing the chalice that held the dregs of his joy. He might play pool
|
||
at McCloskey’s with his roistering friends until Aurora dimmed the
|
||
electric bulbs if he chose. The hymeneal strings that had curbed him
|
||
always when the Frogmore flats had palled upon him were loosened. Katy
|
||
was gone.
|
||
|
||
John Perkins was not accustomed to analyzing his emotions. But as he
|
||
sat in his Katy-bereft 10×12 parlor he hit unerringly upon the keynote
|
||
of his discomfort. He knew now that Katy was necessary to his
|
||
happiness. His feeling for her, lulled into unconsciousness by the dull
|
||
round of domesticity, had been sharply stirred by the loss of her
|
||
presence. Has it not been dinned into us by proverb and sermon and
|
||
fable that we never prize the music till the sweet-voiced bird has
|
||
flown—or in other no less florid and true utterances?
|
||
|
||
“I’m a double-dyed dub,” mused John Perkins, “the way I’ve been
|
||
treating Katy. Off every night playing pool and bumming with the boys
|
||
instead of staying home with her. The poor girl here all alone with
|
||
nothing to amuse her, and me acting that way! John Perkins, you’re the
|
||
worst kind of a shine. I’m going to make it up for the little girl.
|
||
I’ll take her out and let her see some amusement. And I’ll cut out the
|
||
McCloskey gang right from this minute.”
|
||
|
||
Yes, there was the city roaring outside for John Perkins to come dance
|
||
in the train of Momus. And at McCloskey’s the boys were knocking the
|
||
balls idly into the pockets against the hour for the nightly game. But
|
||
no primrose way nor clicking cue could woo the remorseful soul of
|
||
Perkins the bereft. The thing that was his, lightly held and half
|
||
scorned, had been taken away from him, and he wanted it. Backward to a
|
||
certain man named Adam, whom the cherubim bounced from the orchard,
|
||
could Perkins, the remorseful, trace his descent.
|
||
|
||
Near the right hand of John Perkins stood a chair. On the back of it
|
||
stood Katy’s blue shirtwaist. It still retained something of her
|
||
contour. Midway of the sleeves were fine, individual wrinkles made by
|
||
the movements of her arms in working for his comfort and pleasure. A
|
||
delicate but impelling odor of bluebells came from it. John took it and
|
||
looked long and soberly at the unresponsive grenadine. Katy had never
|
||
been unresponsive. Tears:—yes, tears—came into John Perkins’s eyes.
|
||
When she came back things would be different. He would make up for all
|
||
his neglect. What was life without her?
|
||
|
||
The door opened. Katy walked in carrying a little hand satchel. John
|
||
stared at her stupidly.
|
||
|
||
“My! I’m glad to get back,” said Katy. “Ma wasn’t sick to amount to
|
||
anything. Sam was at the depot, and said she just had a little spell,
|
||
and got all right soon after they telegraphed. So I took the next train
|
||
back. I’m just dying for a cup of coffee.”
|
||
|
||
Nobody heard the click and rattle of the cog-wheels as the third-floor
|
||
front of the Frogmore flats buzzed its machinery back into the Order of
|
||
Things. A band slipped, a spring was touched, the gear was adjusted and
|
||
the wheels revolve in their old orbit.
|
||
|
||
John Perkins looked at the clock. It was 8.15. He reached for his hat
|
||
and walked to the door.
|
||
|
||
“Now, where are you going, I’d like to know, John Perkins?” asked Katy,
|
||
in a querulous tone.
|
||
|
||
“Thought I’d drop up to McCloskey’s,” said John, “and play a game or
|
||
two of pool with the fellows.”
|
||
|
||
|
||
|
||
|
||
TWO THANKSGIVING DAY GENTLEMEN
|
||
|
||
|
||
There is one day that is ours. There is one day when all we Americans
|
||
who are not self-made go back to the old home to eat saleratus biscuits
|
||
and marvel how much nearer to the porch the old pump looks than it used
|
||
to. Bless the day. President Roosevelt gives it to us. We hear some
|
||
talk of the Puritans, but don’t just remember who they were. Bet we can
|
||
lick ’em, anyhow, if they try to land again. Plymouth Rocks? Well, that
|
||
sounds more familiar. Lots of us have had to come down to hens since
|
||
the Turkey Trust got its work in. But somebody in Washington is leaking
|
||
out advance information to ’em about these Thanksgiving proclamations.
|
||
|
||
The big city east of the cranberry bogs has made Thanksgiving Day an
|
||
institution. The last Thursday in November is the only day in the year
|
||
on which it recognizes the part of America lying across the ferries. It
|
||
is the one day that is purely American. Yes, a day of celebration,
|
||
exclusively American.
|
||
|
||
And now for the story which is to prove to you that we have traditions
|
||
on this side of the ocean that are becoming older at a much rapider
|
||
rate than those of England are—thanks to our git-up and enterprise.
|
||
|
||
Stuffy Pete took his seat on the third bench to the right as you enter
|
||
Union Square from the east, at the walk opposite the fountain. Every
|
||
Thanksgiving Day for nine years he had taken his seat there promptly at
|
||
1 o’clock. For every time he had done so things had happened to
|
||
him—Charles Dickensy things that swelled his waistcoat above his heart,
|
||
and equally on the other side.
|
||
|
||
But to-day Stuffy Pete’s appearance at the annual trysting place seemed
|
||
to have been rather the result of habit than of the yearly hunger
|
||
which, as the philanthropists seem to think, afflicts the poor at such
|
||
extended intervals.
|
||
|
||
Certainly Pete was not hungry. He had just come from a feast that had
|
||
left him of his powers barely those of respiration and locomotion. His
|
||
eyes were like two pale gooseberries firmly imbedded in a swollen and
|
||
gravy-smeared mask of putty. His breath came in short wheezes; a
|
||
senatorial roll of adipose tissue denied a fashionable set to his
|
||
upturned coat collar. Buttons that had been sewed upon his clothes by
|
||
kind Salvation fingers a week before flew like popcorn, strewing the
|
||
earth around him. Ragged he was, with a split shirt front open to the
|
||
wishbone; but the November breeze, carrying fine snowflakes, brought
|
||
him only a grateful coolness. For Stuffy Pete was overcharged with the
|
||
caloric produced by a super-bountiful dinner, beginning with oysters
|
||
and ending with plum pudding, and including (it seemed to him) all the
|
||
roast turkey and baked potatoes and chicken salad and squash pie and
|
||
ice cream in the world. Wherefore he sat, gorged, and gazed upon the
|
||
world with after-dinner contempt.
|
||
|
||
The meal had been an unexpected one. He was passing a red brick mansion
|
||
near the beginning of Fifth avenue, in which lived two old ladies of
|
||
ancient family and a reverence for traditions. They even denied the
|
||
existence of New York, and believed that Thanksgiving Day was declared
|
||
solely for Washington Square. One of their traditional habits was to
|
||
station a servant at the postern gate with orders to admit the first
|
||
hungry wayfarer that came along after the hour of noon had struck, and
|
||
banquet him to a finish. Stuffy Pete happened to pass by on his way to
|
||
the park, and the seneschals gathered him in and upheld the custom of
|
||
the castle.
|
||
|
||
After Stuffy Pete had gazed straight before him for ten minutes he was
|
||
conscious of a desire for a more varied field of vision. With a
|
||
tremendous effort he moved his head slowly to the left. And then his
|
||
eyes bulged out fearfully, and his breath ceased, and the rough-shod
|
||
ends of his short legs wriggled and rustled on the gravel.
|
||
|
||
For the Old Gentleman was coming across Fourth avenue toward his bench.
|
||
|
||
Every Thanksgiving Day for nine years the Old Gentleman had come there
|
||
and found Stuffy Pete on his bench. That was a thing that the Old
|
||
Gentleman was trying to make a tradition of. Every Thanksgiving Day for
|
||
nine years he had found Stuffy there, and had led him to a restaurant
|
||
and watched him eat a big dinner. They do those things in England
|
||
unconsciously. But this is a young country, and nine years is not so
|
||
bad. The Old Gentleman was a staunch American patriot, and considered
|
||
himself a pioneer in American tradition. In order to become picturesque
|
||
we must keep on doing one thing for a long time without ever letting it
|
||
get away from us. Something like collecting the weekly dimes in
|
||
industrial insurance. Or cleaning the streets.
|
||
|
||
The Old Gentleman moved, straight and stately, toward the Institution
|
||
that he was rearing. Truly, the annual feeding of Stuffy Pete was
|
||
nothing national in its character, such as the Magna Charta or jam for
|
||
breakfast was in England. But it was a step. It was almost feudal. It
|
||
showed, at least, that a Custom was not impossible to New
|
||
Y—ahem!—America.
|
||
|
||
The Old Gentleman was thin and tall and sixty. He was dressed all in
|
||
black, and wore the old-fashioned kind of glasses that won’t stay on
|
||
your nose. His hair was whiter and thinner than it had been last year,
|
||
and he seemed to make more use of his big, knobby cane with the crooked
|
||
handle.
|
||
|
||
As his established benefactor came up Stuffy wheezed and shuddered like
|
||
some woman’s over-fat pug when a street dog bristles up at him. He
|
||
would have flown, but all the skill of Santos-Dumont could not have
|
||
separated him from his bench. Well had the myrmidons of the two old
|
||
ladies done their work.
|
||
|
||
“Good morning,” said the Old Gentleman. “I am glad to perceive that the
|
||
vicissitudes of another year have spared you to move in health about
|
||
the beautiful world. For that blessing alone this day of thanksgiving
|
||
is well proclaimed to each of us. If you will come with me, my man, I
|
||
will provide you with a dinner that should make your physical being
|
||
accord with the mental.”
|
||
|
||
That is what the old Gentleman said every time. Every Thanksgiving Day
|
||
for nine years. The words themselves almost formed an Institution.
|
||
Nothing could be compared with them except the Declaration of
|
||
Independence. Always before they had been music in Stuffy’s ears. But
|
||
now he looked up at the Old Gentleman’s face with tearful agony in his
|
||
own. The fine snow almost sizzled when it fell upon his perspiring
|
||
brow. But the Old Gentleman shivered a little and turned his back to
|
||
the wind.
|
||
|
||
Stuffy had always wondered why the Old Gentleman spoke his speech
|
||
rather sadly. He did not know that it was because he was wishing every
|
||
time that he had a son to succeed him. A son who would come there after
|
||
he was gone—a son who would stand proud and strong before some
|
||
subsequent Stuffy, and say: “In memory of my father.” Then it would be
|
||
an Institution.
|
||
|
||
But the Old Gentleman had no relatives. He lived in rented rooms in one
|
||
of the decayed old family brownstone mansions in one of the quiet
|
||
streets east of the park. In the winter he raised fuchsias in a little
|
||
conservatory the size of a steamer trunk. In the spring he walked in
|
||
the Easter parade. In the summer he lived at a farmhouse in the New
|
||
Jersey hills, and sat in a wicker armchair, speaking of a butterfly,
|
||
the ornithoptera amphrisius, that he hoped to find some day. In the
|
||
autumn he fed Stuffy a dinner. These were the Old Gentleman’s
|
||
occupations.
|
||
|
||
Stuffy Pete looked up at him for a half minute, stewing and helpless in
|
||
his own self-pity. The Old Gentleman’s eyes were bright with the
|
||
giving-pleasure. His face was getting more lined each year, but his
|
||
little black necktie was in as jaunty a bow as ever, and the linen was
|
||
beautiful and white, and his gray mustache was curled carefully at the
|
||
ends. And then Stuffy made a noise that sounded like peas bubbling in a
|
||
pot. Speech was intended; and as the Old Gentleman had heard the sounds
|
||
nine times before, he rightly construed them into Stuffy’s old formula
|
||
of acceptance.
|
||
|
||
“Thankee, sir. I’ll go with ye, and much obliged. I’m very hungry,
|
||
sir.”
|
||
|
||
The coma of repletion had not prevented from entering Stuffy’s mind the
|
||
conviction that he was the basis of an Institution. His Thanksgiving
|
||
appetite was not his own; it belonged by all the sacred rights of
|
||
established custom, if not, by the actual Statute of Limitations, to
|
||
this kind old gentleman who bad preempted it. True, America is free;
|
||
but in order to establish tradition some one must be a repetend—a
|
||
repeating decimal. The heroes are not all heroes of steel and gold. See
|
||
one here that wielded only weapons of iron, badly silvered, and tin.
|
||
|
||
The Old Gentleman led his annual protégé southward to the restaurant,
|
||
and to the table where the feast had always occurred. They were
|
||
recognized.
|
||
|
||
“Here comes de old guy,” said a waiter, “dat blows dat same bum to a
|
||
meal every Thanksgiving.”
|
||
|
||
The Old Gentleman sat across the table glowing like a smoked pearl at
|
||
his corner-stone of future ancient Tradition. The waiters heaped the
|
||
table with holiday food—and Stuffy, with a sigh that was mistaken for
|
||
hunger’s expression, raised knife and fork and carved for himself a
|
||
crown of imperishable bay.
|
||
|
||
No more valiant hero ever fought his way through the ranks of an enemy.
|
||
Turkey, chops, soups, vegetables, pies, disappeared before him as fast
|
||
as they could be served. Gorged nearly to the uttermost when he entered
|
||
the restaurant, the smell of food had almost caused him to lose his
|
||
honor as a gentleman, but he rallied like a true knight. He saw the
|
||
look of beneficent happiness on the Old Gentleman’s face—a happier look
|
||
than even the fuchsias and the ornithoptera amphrisius had ever brought
|
||
to it—and he had not the heart to see it wane.
|
||
|
||
In an hour Stuffy leaned back with a battle won. “Thankee kindly, sir,”
|
||
he puffed like a leaky steam pipe; “thankee kindly for a hearty meal.”
|
||
Then he arose heavily with glazed eyes and started toward the kitchen.
|
||
A waiter turned him about like a top, and pointed him toward the door.
|
||
The Old Gentleman carefully counted out $1.30 in silver change, leaving
|
||
three nickels for the waiter.
|
||
|
||
They parted as they did each year at the door, the Old Gentleman going
|
||
south, Stuffy north.
|
||
|
||
Around the first corner Stuffy turned, and stood for one minute. Then
|
||
he seemed to puff out his rags as an owl puffs out his feathers, and
|
||
fell to the sidewalk like a sunstricken horse.
|
||
|
||
When the ambulance came the young surgeon and the driver cursed softly
|
||
at his weight. There was no smell of whiskey to justify a transfer to
|
||
the patrol wagon, so Stuffy and his two dinners went to the hospital.
|
||
There they stretched him on a bed and began to test him for strange
|
||
diseases, with the hope of getting a chance at some problem with the
|
||
bare steel.
|
||
|
||
And lo! an hour later another ambulance brought the Old Gentleman. And
|
||
they laid him on another bed and spoke of appendicitis, for he looked
|
||
good for the bill.
|
||
|
||
But pretty soon one of the young doctors met one of the young nurses
|
||
whose eyes he liked, and stopped to chat with her about the cases.
|
||
|
||
“That nice old gentleman over there, now,” he said, “you wouldn’t think
|
||
that was a case of almost starvation. Proud old family, I guess. He
|
||
told me he hadn’t eaten a thing for three days.”
|
||
|
||
|
||
|
||
|
||
THE ASSESSOR OF SUCCESS
|
||
|
||
|
||
Hastings Beauchamp Morley sauntered across Union Square with a pitying
|
||
look at the hundreds that lolled upon the park benches. They were a
|
||
motley lot, he thought; the men with stolid, animal, unshaven faces;
|
||
the women wriggling and self-conscious, twining and untwining their
|
||
feet that hung four inches above the gravelled walks.
|
||
|
||
Were I Mr. Carnegie or Mr. Rockefeller I would put a few millions in my
|
||
inside pocket and make an appointment with all the Park Commissioners
|
||
(around the corner, if necessary), and arrange for benches in all the
|
||
parks of the world low enough for women to sit upon, and rest their
|
||
feet upon the ground. After that I might furnish libraries to towns
|
||
that would pay for ’em, or build sanitariums for crank professors, and
|
||
call ’em colleges, if I wanted to.
|
||
|
||
Women’s rights societies have been laboring for many years after
|
||
equality with man. With what result? When they sit on a bench they must
|
||
twist their ankles together and uncomfortably swing their highest
|
||
French heels clear of earthly support. Begin at the bottom, ladies. Get
|
||
your feet on the ground, and then rise to theories of mental equality.
|
||
|
||
Hastings Beauchamp Morley was carefully and neatly dressed. That was
|
||
the result of an instinct due to his birth and breeding. It is denied
|
||
us to look further into a man’s bosom than the starch on his shirt
|
||
front; so it is left to us only to recount his walks and conversation.
|
||
|
||
Morley had not a cent in his pockets; but he smiled pityingly at a
|
||
hundred grimy, unfortunate ones who had no more, and who would have no
|
||
more when the sun’s first rays yellowed the tall paper-cutter building
|
||
on the west side of the square. But Morley would have enough by then.
|
||
Sundown had seen his pockets empty before; but sunrise had always seen
|
||
them lined.
|
||
|
||
First he went to the house of a clergyman off Madison avenue and
|
||
presented a forged letter of introduction that holily purported to
|
||
issue from a pastorate in Indiana. This netted him $5 when backed up by
|
||
a realistic romance of a delayed remittance.
|
||
|
||
On the sidewalk, twenty steps from the clergyman’s door, a pale-faced,
|
||
fat man huskily enveloped him with a raised, red fist and the voice of
|
||
a bell buoy, demanding payment of an old score.
|
||
|
||
“Why, Bergman, man,” sang Morley, dulcetly, “is this you? I was just on
|
||
my way up to your place to settle up. That remittance from my aunt
|
||
arrived only this morning. Wrong address was the trouble. Come up to
|
||
the corner and I’ll square up. Glad to see you. Saves me a walk.”
|
||
|
||
Four drinks placated the emotional Bergman. There was an air about
|
||
Morley when he was backed by money in hand that would have stayed off a
|
||
call loan at Rothschilds’. When he was penniless his bluff was pitched
|
||
half a tone lower, but few are competent to detect the difference in
|
||
the notes.
|
||
|
||
“You gum to mine blace and bay me to-morrow, Mr. Morley,” said Bergman.
|
||
“Oxcuse me dat I dun you on der street. But I haf not seen you in dree
|
||
mont’. Pros’t!”
|
||
|
||
Morley walked away with a crooked smile on his pale, smooth face. The
|
||
credulous, drink-softened German amused him. He would have to avoid
|
||
Twenty-ninth street in the future. He had not been aware that Bergman
|
||
ever went home by that route.
|
||
|
||
At the door of a darkened house two squares to the north Morley knocked
|
||
with a peculiar sequence of raps. The door opened to the length of a
|
||
six-inch chain, and the pompous, important black face of an African
|
||
guardian imposed itself in the opening. Morley was admitted.
|
||
|
||
In a third-story room, in an atmosphere opaque with smoke, he hung for
|
||
ten minutes above a roulette wheel. Then downstairs he crept, and was
|
||
out-sped by the important negro, jingling in his pocket the 40 cents in
|
||
silver that remained to him of his five-dollar capital. At the corner
|
||
he lingered, undecided.
|
||
|
||
Across the street was a drug store, well lighted, sending forth gleams
|
||
from the German silver and crystal of its soda fountain and glasses.
|
||
Along came a youngster of five, headed for the dispensary, stepping
|
||
high with the consequence of a big errand, possibly one to which his
|
||
advancing age had earned him promotion. In his hand he clutched
|
||
something tightly, publicly, proudly, conspicuously.
|
||
|
||
Morley stopped him with his winning smile and soft speech.
|
||
|
||
“Me?” said the youngster. “I’m doin’ to the drug ’tore for mamma. She
|
||
dave me a dollar to buy a bottle of med’cin.”
|
||
|
||
“Now, now, now!” said Morley. “Such a big man you are to be doing
|
||
errands for mamma. I must go along with my little man to see that the
|
||
cars don’t run over him. And on the way we’ll have some chocolates. Or
|
||
would he rather have lemon drops?”
|
||
|
||
Morley entered the drug store leading the child by the hand. He
|
||
presented the prescription that had been wrapped around the money.
|
||
|
||
On his face was a smile, predatory, parental, politic, profound.
|
||
|
||
“Aqua pura, one pint,” said he to the druggist. “Sodium chloride, ten
|
||
grains. Fiat solution. And don’t try to skin me, because I know all
|
||
about the number of gallons of H2O in the Croton reservoir, and I
|
||
always use the other ingredient on my potatoes.”
|
||
|
||
“Fifteen cents,” said the druggist, with a wink after he had compounded
|
||
the order. “I see you understand pharmacy. A dollar is the regular
|
||
price.”
|
||
|
||
“To gulls,” said Morley, smilingly.
|
||
|
||
He settled the wrapped bottle carefully in the child’s arms and
|
||
escorted him to the corner. In his own pocket he dropped the 85 cents
|
||
accruing to him by virtue of his chemical knowledge.
|
||
|
||
“Look out for the cars, sonny,” he said, cheerfully, to his small
|
||
victim.
|
||
|
||
Two street cars suddenly swooped in opposite directions upon the
|
||
youngster. Morley dashed between them and pinned the infantile
|
||
messenger by the neck, holding him in safety. Then from the corner of
|
||
his street he sent him on his way, swindled, happy, and sticky with
|
||
vile, cheap candy from the Italian’s fruit stand.
|
||
|
||
Morley went to a restaurant and ordered a sirloin and a pint of
|
||
inexpensive Chateau Breuille. He laughed noiselessly, but so genuinely
|
||
that the waiter ventured to premise that good news had come his way.
|
||
|
||
“Why, no,” said Morley, who seldom held conversation with any one. “It
|
||
is not that. It is something else that amuses me. Do you know what
|
||
three divisions of people are easiest to over-reach in transactions of
|
||
all kinds?”
|
||
|
||
“Sure,” said the waiter, calculating the size of the tip promised by
|
||
the careful knot of Morley’s tie; “there’s the buyers from the dry
|
||
goods stores in the South during August, and honeymooners from Staten
|
||
Island, and”—
|
||
|
||
“Wrong!” said Morley, chuckling happily. “The answer is just—men, women
|
||
and children. The world—well, say New York and as far as summer
|
||
boarders can swim out from Long Island—is full of greenhorns. Two
|
||
minutes longer on the broiler would have made this steak fit to be
|
||
eaten by a gentleman, Francois.”
|
||
|
||
“If yez t’inks it’s on de bum,” said the waiter, “Oi’ll”—
|
||
|
||
Morley lifted his hand in protest—slightly martyred protest.
|
||
|
||
“It will do,” he said, magnanimously. “And now, green Chartreuse,
|
||
frappe and a demi-tasse.”
|
||
|
||
Morley went out leisurely and stood on a corner where two tradeful
|
||
arteries of the city cross. With a solitary dime in his pocket, he
|
||
stood on the curb watching with confident, cynical, smiling eyes the
|
||
tides of people that flowed past him. Into that stream he must cast his
|
||
net and draw fish for his further sustenance and need. Good Izaak
|
||
Walton had not the half of his self-reliance and bait-lore.
|
||
|
||
A joyful party of four—two women and two men—fell upon him with cries
|
||
of delight. There was a dinner party on—where had he been for a
|
||
fortnight past?—what luck to thus run upon him! They surrounded and
|
||
engulfed him—he must join them—tra la la—and the rest.
|
||
|
||
One with a white hat plume curving to the shoulder touched his sleeve,
|
||
and cast at the others a triumphant look that said: “See what I can do
|
||
with him?” and added her queen’s command to the invitations.
|
||
|
||
“I leave you to imagine,” said Morley, pathetically, “how it desolates
|
||
me to forego the pleasure. But my friend Carruthers, of the New York
|
||
Yacht Club, is to pick me up here in his motor car at 8.”
|
||
|
||
The white plume tossed, and the quartet danced like midges around an
|
||
arc light down the frolicsome way.
|
||
|
||
Morley stood, turning over and over the dime in his pocket and laughing
|
||
gleefully to himself. “‘Front,’” he chanted under his breath; “‘front’
|
||
does it. It is trumps in the game. How they take it in! Men, women and
|
||
children—forgeries, water-and-salt lies—how they all take it in!”
|
||
|
||
An old man with an ill-fitting suit, a straggling gray beard and a
|
||
corpulent umbrella hopped from the conglomeration of cabs and street
|
||
cars to the sidewalk at Morley’s side.
|
||
|
||
“Stranger,” said he, “excuse me for troubling you, but do you know
|
||
anybody in this here town named Solomon Smothers? He’s my son, and I’ve
|
||
come down from Ellenville to visit him. Be darned if I know what I done
|
||
with his street and number.”
|
||
|
||
“I do not, sir,” said Morley, half closing his eyes to veil the joy in
|
||
them. “You had better apply to the police.”
|
||
|
||
“The police!” said the old man. “I ain’t done nothin’ to call in the
|
||
police about. I just come down to see Ben. He lives in a five-story
|
||
house, he writes me. If you know anybody by that name and could”—
|
||
|
||
“I told you I did not,” said Morley, coldly. “I know no one by the name
|
||
of Smithers, and I advise you to”—
|
||
|
||
“Smothers not Smithers,” interrupted the old man hopefully. “A
|
||
heavy-set man, sandy complected, about twenty-nine, two front teeth
|
||
out, about five foot”—
|
||
|
||
“Oh, ‘Smothers!’” exclaimed Morley. “Sol Smothers? Why, he lives in the
|
||
next house to me. I thought you said ‘Smithers.’”
|
||
|
||
Morley looked at his watch. You must have a watch. You can do it for a
|
||
dollar. Better go hungry than forego a gunmetal or the
|
||
ninety-eight-cent one that the railroads—according to these
|
||
watchmakers—are run by.
|
||
|
||
“The Bishop of Long Island,” said Morley, “was to meet me here at 8 to
|
||
dine with me at the Kingfishers’ Club. But I can’t leave the father of
|
||
my friend Sol Smothers alone on the street. By St. Swithin, Mr.
|
||
Smothers, we Wall street men have to work! Tired is no name for it! I
|
||
was about to step across to the other corner and have a glass of ginger
|
||
ale with a dash of sherry when you approached me. You must let me take
|
||
you to Sol’s house, Mr. Smothers. But, before we take the car I hope
|
||
you will join me in”—
|
||
|
||
An hour later Morley seated himself on the end of a quiet bench in
|
||
Madison Square, with a twenty-five-cent cigar between his lips and $140
|
||
in deeply creased bills in his inside pocket. Content, light-hearted,
|
||
ironical, keenly philosophic, he watched the moon drifting in and out
|
||
amidst a maze of flying clouds. An old, ragged man with a low-bowed
|
||
head sat at the other end of the bench.
|
||
|
||
Presently the old man stirred and looked at his bench companion. In
|
||
Morley’s appearance he seemed to recognize something superior to the
|
||
usual nightly occupants of the benches.
|
||
|
||
“Kind sir,” he whined, “if you could spare a dime or even a few pennies
|
||
to one who”—
|
||
|
||
Morley cut short his stereotyped appeal by throwing him a dollar.
|
||
|
||
“God bless you!” said the old man. “I’ve been trying to find work for”—
|
||
|
||
“Work!” echoed Morley with his ringing laugh. “You are a fool, my
|
||
friend. The world is a rock to you, no doubt; but you must be an Aaron
|
||
and smite it with your rod. Then things better than water will gush out
|
||
of it for you. That is what the world is for. It gives to me whatever I
|
||
want from it.”
|
||
|
||
“God has blessed you,” said the old man. “It is only work that I have
|
||
known. And now I can get no more.”
|
||
|
||
“I must go home,” said Morley, rising and buttoning his coat. “I
|
||
stopped here only for a smoke. I hope you may find work.”
|
||
|
||
“May your kindness be rewarded this night,” said the old man.
|
||
|
||
“Oh,” said Morley, “you have your wish already. I am satisfied. I think
|
||
good luck follows me like a dog. I am for yonder bright hotel across
|
||
the square for the night. And what a moon that is lighting up the city
|
||
to-night. I think no one enjoys the moonlight and such little things as
|
||
I do. Well, a good-night to you.”
|
||
|
||
Morley walked to the corner where he would cross to his hotel. He blew
|
||
slow streams of smoke from his cigar heavenward. A policeman passing
|
||
saluted to his benign nod. What a fine moon it was.
|
||
|
||
The clock struck nine as a girl just entering womanhood stopped on the
|
||
corner waiting for the approaching car. She was hurrying as if homeward
|
||
from employment or delay. Her eyes were clear and pure, she was dressed
|
||
in simple white, she looked eagerly for the car and neither to the
|
||
right nor the left.
|
||
|
||
Morley knew her. Eight years before he had sat on the same bench with
|
||
her at school. There had been no sentiment between them—nothing but the
|
||
friendship of innocent days.
|
||
|
||
But he turned down the side street to a quiet spot and laid his
|
||
suddenly burning face against the cool iron of a lamp-post, and said
|
||
dully:
|
||
|
||
“God! I wish I could die.”
|
||
|
||
|
||
|
||
|
||
THE BUYER FROM CACTUS CITY
|
||
|
||
|
||
It is well that hay fever and colds do not obtain in the healthful
|
||
vicinity of Cactus City, Texas, for the dry goods emporium of Navarro &
|
||
Platt, situated there, is not to be sneezed at.
|
||
|
||
Twenty thousand people in Cactus City scatter their silver coin with
|
||
liberal hands for the things that their hearts desire. The bulk of this
|
||
semiprecious metal goes to Navarro & Platt. Their huge brick building
|
||
covers enough ground to graze a dozen head of sheep. You can buy of
|
||
them a rattlesnake-skin necktie, an automobile or an eighty-five
|
||
dollar, latest style, ladies’ tan coat in twenty different shades.
|
||
Navarro & Platt first introduced pennies west of the Colorado River.
|
||
They had been ranchmen with business heads, who saw that the world did
|
||
not necessarily have to cease its revolutions after free grass went
|
||
out.
|
||
|
||
Every Spring, Navarro, senior partner, fifty-five, half Spanish,
|
||
cosmopolitan, able, polished, had “gone on” to New York to buy goods.
|
||
This year he shied at taking up the long trail. He was undoubtedly
|
||
growing older; and he looked at his watch several times a day before
|
||
the hour came for his siesta.
|
||
|
||
“John,” he said, to his junior partner, “you shall go on this year to
|
||
buy the goods.”
|
||
|
||
Platt looked tired.
|
||
|
||
“I’m told,” said he, “that New York is a plumb dead town; but I’ll go.
|
||
I can take a whirl in San Antone for a few days on my way and have some
|
||
fun.”
|
||
|
||
Two weeks later a man in a Texas full dress suit—black frock coat,
|
||
broad-brimmed soft white hat, and lay-down collar 3-4 inch high, with
|
||
black, wrought iron necktie—entered the wholesale cloak and suit
|
||
establishment of Zizzbaum & Son, on lower Broadway.
|
||
|
||
Old Zizzbaum had the eye of an osprey, the memory of an elephant and a
|
||
mind that unfolded from him in three movements like the puzzle of the
|
||
carpenter’s rule. He rolled to the front like a brunette polar bear,
|
||
and shook Platt’s hand.
|
||
|
||
“And how is the good Mr. Navarro in Texas?” he said. “The trip was too
|
||
long for him this year, so? We welcome Mr. Platt instead.”
|
||
|
||
“A bull’s eye,” said Platt, “and I’d give forty acres of unirrigated
|
||
Pecos County land to know how you did it.”
|
||
|
||
“I knew,” grinned Zizzbaum, “just as I know that the rainfall in El
|
||
Paso for the year was 28.5 inches, or an increase of 15 inches, and
|
||
that therefore Navarro & Platt will buy a $15,000 stock of suits this
|
||
spring instead of $10,000, as in a dry year. But that will be
|
||
to-morrow. There is first a cigar in my private office that will remove
|
||
from your mouth the taste of the ones you smuggle across the Rio Grande
|
||
and like—because they are smuggled.”
|
||
|
||
It was late in the afternoon and business for the day had ended,
|
||
Zizzbaum left Platt with a half-smoked cigar, and came out of the
|
||
private office to Son, who was arranging his diamond scarfpin before a
|
||
mirror, ready to leave.
|
||
|
||
“Abey,” he said, “you will have to take Mr. Platt around to-night and
|
||
show him things. They are customers for ten years. Mr. Navarro and I we
|
||
played chess every moment of spare time when he came. That is good, but
|
||
Mr. Platt is a young man and this is his first visit to New York. He
|
||
should amuse easily.”
|
||
|
||
“All right,” said Abey, screwing the guard tightly on his pin. “I’ll
|
||
take him on. After he’s seen the Flatiron and the head waiter at the
|
||
Hotel Astor and heard the phonograph play ‘Under the Old Apple Tree’
|
||
it’ll be half past ten, and Mr. Texas will be ready to roll up in his
|
||
blanket. I’ve got a supper engagement at 11:30, but he’ll be all to the
|
||
Mrs. Winslow before then.”
|
||
|
||
The next morning at 10 Platt walked into the store ready to do
|
||
business. He had a bunch of hyacinths pinned on his lapel. Zizzbaum
|
||
himself waited on him. Navarro & Platt were good customers, and never
|
||
failed to take their discount for cash.
|
||
|
||
“And what did you think of our little town?” asked Zizzbaum, with the
|
||
fatuous smile of the Manhattanite.
|
||
|
||
“I shouldn’t care to live in it,” said the Texan. “Your son and I
|
||
knocked around quite a little last night. You’ve got good water, but
|
||
Cactus City is better lit up.”
|
||
|
||
“We’ve got a few lights on Broadway, don’t you think, Mr. Platt?”
|
||
|
||
“And a good many shadows,” said Platt. “I think I like your horses
|
||
best. I haven’t seen a crow-bait since I’ve been in town.”
|
||
|
||
Zizzbaum led him up stairs to show the samples of suits.
|
||
|
||
“Ask Miss Asher to come,” he said to a clerk.
|
||
|
||
Miss Asher came, and Platt, of Navarro & Platt, felt for the first time
|
||
the wonderful bright light of romance and glory descend upon him. He
|
||
stood still as a granite cliff above the cañon of the Colorado, with
|
||
his wide-open eyes fixed upon her. She noticed his look and flushed a
|
||
little, which was contrary to her custom.
|
||
|
||
Miss Asher was the crack model of Zizzbaum & Son. She was of the blond
|
||
type known as “medium,” and her measurements even went the required
|
||
38-25-42 standard a little better. She had been at Zizzbaum’s two
|
||
years, and knew her business. Her eye was bright, but cool; and had she
|
||
chosen to match her gaze against the optic of the famed basilisk, that
|
||
fabulous monster’s gaze would have wavered and softened first.
|
||
Incidentally, she knew buyers.
|
||
|
||
“Now, Mr. Platt,” said Zizzbaum, “I want you to see these princess
|
||
gowns in the light shades. They will be the thing in your climate. This
|
||
first, if you please, Miss Asher.”
|
||
|
||
Swiftly in and out of the dressing-room the prize model flew, each time
|
||
wearing a new costume and looking more stunning with every change. She
|
||
posed with absolute self-possession before the stricken buyer, who
|
||
stood, tongue-tied and motionless, while Zizzbaum orated oilily of the
|
||
styles. On the model’s face was her faint, impersonal professional
|
||
smile that seemed to cover something like weariness or contempt.
|
||
|
||
When the display was over Platt seemed to hesitate. Zizzbaum was a
|
||
little anxious, thinking that his customer might be inclined to try
|
||
elsewhere. But Platt was only looking over in his mind the best
|
||
building sites in Cactus City, trying to select one on which to build a
|
||
house for his wife-to-be—who was just then in the dressing-room taking
|
||
off an evening gown of lavender and tulle.
|
||
|
||
“Take your time, Mr. Platt,” said Zizzbaum. “Think it over to-night.
|
||
You won’t find anybody else meet our prices on goods like these. I’m
|
||
afraid you’re having a dull time in New York, Mr. Platt. A young man
|
||
like you—of course, you miss the society of the ladies. Wouldn’t you
|
||
like a nice young lady to take out to dinner this evening? Miss Asher,
|
||
now, is a very nice young lady; she will make it agreeable for you.”
|
||
|
||
“Why, she doesn’t know me,” said Platt, wonderingly. “She doesn’t know
|
||
anything about me. Would she go? I’m not acquainted with her.”
|
||
|
||
“Would she go?” repeated Zizzbaum, with uplifted eyebrows. “Sure, she
|
||
would go. I will introduce you. Sure, she would go.”
|
||
|
||
He called Miss Asher loudly.
|
||
|
||
She came, calm and slightly contemptuous, in her white shirt waist and
|
||
plain black skirt.
|
||
|
||
“Mr. Platt would like the pleasure of your company to dinner this
|
||
evening,” said Zizzbaum, walking away.
|
||
|
||
“Sure,” said Miss Asher, looking at the ceiling. “I’d be much pleased.
|
||
Nine-eleven West Twentieth street. What time?”
|
||
|
||
“Say seven o’clock.”
|
||
|
||
“All right, but please don’t come ahead of time. I room with a school
|
||
teacher, and she doesn’t allow any gentlemen to call in the room. There
|
||
isn’t any parlor, so you’ll have to wait in the hall. I’ll be ready.”
|
||
|
||
At half past seven Platt and Miss Asher sat at a table in a Broadway
|
||
restaurant. She was dressed in a plain, filmy black. Platt didn’t know
|
||
that it was all a part of her day’s work.
|
||
|
||
With the unobtrusive aid of a good waiter he managed to order a
|
||
respectable dinner, minus the usual Broadway preliminaries.
|
||
|
||
Miss Asher flashed upon him a dazzling smile.
|
||
|
||
“Mayn’t I have something to drink?” she asked.
|
||
|
||
“Why, certainly,” said Platt. “Anything you want.”
|
||
|
||
“A dry Martini,” she said to the waiter.
|
||
|
||
When it was brought and set before her Platt reached over and took it
|
||
away.
|
||
|
||
“What is this?” he asked.
|
||
|
||
“A cocktail, of course.”
|
||
|
||
“I thought it was some kind of tea you ordered. This is liquor. You
|
||
can’t drink this. What is your first name?”
|
||
|
||
“To my intimate friends,” said Miss Asher, freezingly, “it is ‘Helen.’”
|
||
|
||
“Listen, Helen,” said Platt, leaning over the table. “For many years
|
||
every time the spring flowers blossomed out on the prairies I got to
|
||
thinking of somebody that I’d never seen or heard of. I knew it was you
|
||
the minute I saw you yesterday. I’m going back home to-morrow, and
|
||
you’re going with me. I know it, for I saw it in your eyes when you
|
||
first looked at me. You needn’t kick, for you’ve got to fall into line.
|
||
Here’s a little trick I picked out for you on my way over.”
|
||
|
||
He flicked a two-carat diamond solitaire ring across the table. Miss
|
||
Asher flipped it back to him with her fork.
|
||
|
||
“Don’t get fresh,” she said, severely.
|
||
|
||
“I’m worth a hundred thousand dollars,” said Platt. “I’ll build you the
|
||
finest house in West Texas.”
|
||
|
||
“You can’t buy me, Mr. Buyer,” said Miss Asher, “if you had a hundred
|
||
million. I didn’t think I’d have to call you down. You didn’t look like
|
||
the others to me at first, but I see you’re all alike.”
|
||
|
||
“All who?” asked Platt.
|
||
|
||
“All you buyers. You think because we girls have to go out to dinner
|
||
with you or lose our jobs that you’re privileged to say what you
|
||
please. Well, forget it. I thought you were different from the others,
|
||
but I see I was mistaken.”
|
||
|
||
Platt struck his fingers on the table with a gesture of sudden,
|
||
illuminating satisfaction.
|
||
|
||
“I’ve got it!” he exclaimed, almost hilariously—“the Nicholson place,
|
||
over on the north side. There’s a big grove of live oaks and a natural
|
||
lake. The old house can be pulled down and the new one set further
|
||
back.”
|
||
|
||
“Put out your pipe,” said Miss Asher. “I’m sorry to wake you up, but
|
||
you fellows might as well get wise, once for all, to where you stand.
|
||
I’m supposed to go to dinner with you and help jolly you along so
|
||
you’ll trade with old Zizzy, but don’t expect to find me in any of the
|
||
suits you buy.”
|
||
|
||
“Do you mean to tell me,” said Platt, “that you go out this way with
|
||
customers, and they all—they all talk to you like I have?”
|
||
|
||
“They all make plays,” said Miss Asher. “But I must say that you’ve got
|
||
’em beat in one respect. They generally talk diamonds, while you’ve
|
||
actually dug one up.”
|
||
|
||
“How long have you been working, Helen?”
|
||
|
||
“Got my name pat, haven’t you? I’ve been supporting myself for eight
|
||
years. I was a cash girl and a wrapper and then a shop girl until I was
|
||
grown, and then I got to be a suit model. Mr. Texas Man, don’t you
|
||
think a little wine would make this dinner a little less dry?”
|
||
|
||
“You’re not going to drink wine any more, dear. It’s awful to think
|
||
how— I’ll come to the store to-morrow and get you. I want you to pick
|
||
out an automobile before we leave. That’s all we need to buy here.”
|
||
|
||
“Oh, cut that out. If you knew how sick I am of hearing such talk.”
|
||
|
||
After the dinner they walked down Broadway and came upon Diana’s little
|
||
wooded park. The trees caught Platt’s eye at once, and he must turn
|
||
along under the winding walk beneath them. The lights shone upon two
|
||
bright tears in the model’s eyes.
|
||
|
||
“I don’t like that,” said Platt. “What’s the matter?”
|
||
|
||
“Don’t you mind,” said Miss Asher. “Well, it’s because—well, I didn’t
|
||
think you were that kind when I first saw you. But you are all like.
|
||
And now will you take me home, or will I have to call a cop?”
|
||
|
||
Platt took her to the door of her boarding-house. They stood for a
|
||
minute in the vestibule. She looked at him with such scorn in her eyes
|
||
that even his heart of oak began to waver. His arm was half way around
|
||
her waist, when she struck him a stinging blow on the face with her
|
||
open hand.
|
||
|
||
As he stepped back a ring fell from somewhere and bounded on the tiled
|
||
floor. Platt groped for it and found it.
|
||
|
||
“Now, take your useless diamond and go, Mr. Buyer,” she said.
|
||
|
||
“This was the other one—the wedding ring,” said the Texan, holding the
|
||
smooth gold band on the palm of his hand.
|
||
|
||
Miss Asher’s eyes blazed upon him in the half darkness.
|
||
|
||
“Was that what you meant?—did you”—
|
||
|
||
Somebody opened the door from inside the house.
|
||
|
||
“Good-night,” said Platt. “I’ll see you at the store to-morrow.”
|
||
|
||
Miss Asher ran up to her room and shook the school teacher until she
|
||
sat up in bed ready to scream “Fire!”
|
||
|
||
“Where is it?” she cried.
|
||
|
||
“That’s what I want to know,” said the model. “You’ve studied
|
||
geography, Emma, and you ought to know. Where is a town called
|
||
Cac—Cac—Carac—Caracas City, I think, they called it?”
|
||
|
||
“How dare you wake me up for that?” said the school teacher. “Caracas
|
||
is in Venezuela, of course.”
|
||
|
||
“What’s it like?”
|
||
|
||
“Why, it’s principally earthquakes and negroes and monkeys and malarial
|
||
fever and volcanoes.”
|
||
|
||
“I don’t care,” said Miss Asher, blithely; “I’m going there to-morrow.”
|
||
|
||
|
||
|
||
|
||
THE BADGE OF POLICEMAN O’ROON
|
||
|
||
|
||
It cannot be denied that men and women have looked upon one another for
|
||
the first time and become instantly enamored. It is a risky process,
|
||
this love at first sight, before she has seen him in Bradstreet or he
|
||
has seen her in curl papers. But these things do happen; and one
|
||
instance must form a theme for this story—though not, thank Heaven, to
|
||
the overshadowing of more vital and important subjects, such as drink,
|
||
policemen, horses and earldoms.
|
||
|
||
During a certain war a troop calling itself the Gentle Riders rode into
|
||
history and one or two ambuscades. The Gentle Riders were recruited
|
||
from the aristocracy of the wild men of the West and the wild men of
|
||
the aristocracy of the East. In khaki there is little telling them one
|
||
from another, so they became good friends and comrades all around.
|
||
|
||
Ellsworth Remsen, whose old Knickerbocker descent atoned for his modest
|
||
rating at only ten millions, ate his canned beef gayly by the campfires
|
||
of the Gentle Riders. The war was a great lark to him, so that he
|
||
scarcely regretted polo and planked shad.
|
||
|
||
One of the troopers was a well set up, affable, cool young man, who
|
||
called himself O’Roon. To this young man Remsen took an especial
|
||
liking. The two rode side by side during the famous mooted up-hill
|
||
charge that was disputed so hotly at the time by the Spaniards and
|
||
afterward by the Democrats.
|
||
|
||
After the war Remsen came back to his polo and shad. One day a well set
|
||
up, affable, cool young man disturbed him at his club, and he and
|
||
O’Roon were soon pounding each other and exchanging opprobrious
|
||
epithets after the manner of long-lost friends. O’Roon looked seedy and
|
||
out of luck and perfectly contented. But it seemed that his content was
|
||
only apparent.
|
||
|
||
“Get me a job, Remsen,” he said. “I’ve just handed a barber my last
|
||
shilling.”
|
||
|
||
“No trouble at all,” said Remsen. “I know a lot of men who have banks
|
||
and stores and things downtown. Any particular line you fancy?”
|
||
|
||
“Yes,” said O’Roon, with a look of interest. “I took a walk in your
|
||
Central Park this morning. I’d like to be one of those bobbies on
|
||
horseback. That would be about the ticket. Besides, it’s the only thing
|
||
I could do. I can ride a little and the fresh air suits me. Think you
|
||
could land that for me?”
|
||
|
||
Remsen was sure that he could. And in a very short time he did. And
|
||
they who were not above looking at mounted policemen might have seen a
|
||
well set up, affable, cool young man on a prancing chestnut steed
|
||
attending to his duties along the driveways of the park.
|
||
|
||
And now at the extreme risk of wearying old gentlemen who carry leather
|
||
fob chains, and elderly ladies who—but no! grandmother herself yet
|
||
thrills at foolish, immortal Romeo—there must be a hint of love at
|
||
first sight.
|
||
|
||
It came just as Remsen was strolling into Fifth avenue from his club a
|
||
few doors away.
|
||
|
||
A motor car was creeping along foot by foot, impeded by a freshet of
|
||
vehicles that filled the street. In the car was a chauffeur and an old
|
||
gentleman with snowy side whiskers and a Scotch plaid cap which could
|
||
not be worn while automobiling except by a personage. Not even a wine
|
||
agent would dare do it. But these two were of no consequence—except,
|
||
perhaps, for the guiding of the machine and the paying for it. At the
|
||
old gentleman’s side sat a young lady more beautiful than pomegranate
|
||
blossoms, more exquisite than the first quarter moon viewed at twilight
|
||
through the tops of oleanders. Remsen saw her and knew his fate. He
|
||
could have flung himself under the very wheels that conveyed her, but
|
||
he knew that would be the last means of attracting the attention of
|
||
those who ride in motor cars. Slowly the auto passed, and, if we place
|
||
the poets above the autoists, carried the heart of Remsen with it. Here
|
||
was a large city of millions, and many women who at a certain distance
|
||
appear to resemble pomegranate blossoms. Yet he hoped to see her again;
|
||
for each one fancies that his romance has its own tutelary guardian and
|
||
divinity.
|
||
|
||
Luckily for Remsen’s peace of mind there came a diversion in the guise
|
||
of a reunion of the Gentle Riders of the city. There were not many of
|
||
them—perhaps a score—and there was wassail and things to eat, and
|
||
speeches and the Spaniard was bearded again in recapitulation. And when
|
||
daylight threatened them the survivors prepared to depart. But some
|
||
remained upon the battlefield. One of these was Trooper O’Roon, who was
|
||
not seasoned to potent liquids. His legs declined to fulfil the
|
||
obligations they had sworn to the police department.
|
||
|
||
“I’m stewed, Remsen,” said O’Roon to his friend. “Why do they build
|
||
hotels that go round and round like catherine wheels? They’ll take away
|
||
my shield and break me. I can think and talk
|
||
con-con-consec-sec-secutively, but I s-s-stammer with my feet. I’ve got
|
||
to go on duty in three hours. The jig is up, Remsen. The jig is up, I
|
||
tell you.”
|
||
|
||
“Look at me,” said Remsen, who was his smiling self, pointing to his
|
||
own face; “whom do you see here?”
|
||
|
||
“Goo’ fellow,” said O’Roon, dizzily, “Goo’ old Remsen.”
|
||
|
||
“Not so,” said Remsen. “You see Mounted Policeman O’Roon. Look at your
|
||
face—no; you can’t do that without a glass—but look at mine, and think
|
||
of yours. How much alike are we? As two French _table d’hôte_ dinners.
|
||
With your badge, on your horse, in your uniform, will I charm
|
||
nurse-maids and prevent the grass from growing under people’s feet in
|
||
the Park this day. I will have your badge and your honor, besides
|
||
having the jolliest lark I’ve been blessed with since we licked Spain.”
|
||
|
||
Promptly on time the counterfeit presentment of Mounted Policeman
|
||
O’Roon single-footed into the Park on his chestnut steed. In a uniform
|
||
two men who are unlike will look alike; two who somewhat resemble each
|
||
other in feature and figure will appear as twin brothers. So Remsen
|
||
trotted down the bridle paths, enjoying himself hugely, so few real
|
||
pleasures do ten-millionaires have.
|
||
|
||
Along the driveway in the early morning spun a victoria drawn by a pair
|
||
of fiery bays. There was something foreign about the affair, for the
|
||
Park is rarely used in the morning except by unimportant people who
|
||
love to be healthy, poor and wise. In the vehicle sat an old gentleman
|
||
with snowy side-whiskers and a Scotch plaid cap which could not be worn
|
||
while driving except by a personage. At his side sat the lady of
|
||
Remsen’s heart—the lady who looked like pomegranate blossoms and the
|
||
gibbous moon.
|
||
|
||
Remsen met them coming. At the instant of their passing her eyes looked
|
||
into his, and but for the ever coward’s heart of a true lover he could
|
||
have sworn that she flushed a faint pink. He trotted on for twenty
|
||
yards, and then wheeled his horse at the sound of runaway hoofs. The
|
||
bays had bolted.
|
||
|
||
Remsen sent his chestnut after the victoria like a shot. There was work
|
||
cut out for the impersonator of Policeman O’Roon. The chestnut ranged
|
||
alongside the off bay thirty seconds after the chase began, rolled his
|
||
eye back at Remsen, and said in the only manner open to policemen’s
|
||
horses:
|
||
|
||
“Well, you duffer, are you going to do your share? You’re not O’Roon,
|
||
but it seems to me if you’d lean to the right you could reach the reins
|
||
of that foolish slow-running bay—ah! you’re all right; O’Roon couldn’t
|
||
have done it more neatly!”
|
||
|
||
The runaway team was tugged to an inglorious halt by Remsen’s tough
|
||
muscles. The driver released his hands from the wrapped reins, jumped
|
||
from his seat and stood at the heads of the team. The chestnut,
|
||
approving his new rider, danced and pranced, reviling equinely the
|
||
subdued bays. Remsen, lingering, was dimly conscious of a vague,
|
||
impossible, unnecessary old gentleman in a Scotch cap who talked
|
||
incessantly about something. And he was acutely conscious of a pair of
|
||
violet eyes that would have drawn Saint Pyrites from his iron pillar—or
|
||
whatever the allusion is—and of the lady’s smile and look—a little
|
||
frightened, but a look that, with the ever coward heart of a true
|
||
lover, he could not yet construe. They were asking his name and
|
||
bestowing upon him wellbred thanks for his heroic deed, and the Scotch
|
||
cap was especially babbling and insistent. But the eloquent appeal was
|
||
in the eyes of the lady.
|
||
|
||
A little thrill of satisfaction ran through Remsen, because he had a
|
||
name to give which, without undue pride, was worthy of being spoken in
|
||
high places, and a small fortune which, with due pride, he could leave
|
||
at his end without disgrace.
|
||
|
||
He opened his lips to speak and closed them again.
|
||
|
||
Who was he? Mounted Policeman O’Roon. The badge and the honor of his
|
||
comrade were in his hands. If Ellsworth Remsen, ten-millionaire and
|
||
Knickerbocker, had just rescued pomegranate blossoms and Scotch cap
|
||
from possible death, where was Policeman O’Roon? Off his beat, exposed,
|
||
disgraced, discharged. Love had come, but before that there had been
|
||
something that demanded precedence—the fellowship of men on
|
||
battlefields fighting an alien foe.
|
||
|
||
Remsen touched his cap, looked between the chestnut’s ears, and took
|
||
refuge in vernacularity.
|
||
|
||
“Don’t mention it,” he said stolidly. “We policemen are paid to do
|
||
these things. It’s our duty.”
|
||
|
||
And he rode away—rode away cursing _noblesse oblige_, but knowing he
|
||
could never have done anything else.
|
||
|
||
At the end of the day Remsen sent the chestnut to his stable and went
|
||
to O’Roon’s room. The policeman was again a well set up, affable, cool
|
||
young man who sat by the window smoking cigars.
|
||
|
||
“I wish you and the rest of the police force and all badges, horses,
|
||
brass buttons and men who can’t drink two glasses of _brut_ without
|
||
getting upset were at the devil,” said Remsen feelingly.
|
||
|
||
O’Roon smiled with evident satisfaction.
|
||
|
||
“Good old Remsen,” he said, affably, “I know all about it. They trailed
|
||
me down and cornered me here two hours ago. There was a little row at
|
||
home, you know, and I cut sticks just to show them. I don’t believe I
|
||
told you that my Governor was the Earl of Ardsley. Funny you should bob
|
||
against them in the Park. If you damaged that horse of mine I’ll never
|
||
forgive you. I’m going to buy him and take him back with me. Oh, yes,
|
||
and I think my sister—Lady Angela, you know—wants particularly for you
|
||
to come up to the hotel with me this evening. Didn’t lose my badge, did
|
||
you, Remsen? I’ve got to turn that in at Headquarters when I resign.”
|
||
|
||
|
||
|
||
|
||
BRICKDUST ROW
|
||
|
||
|
||
Blinker was displeased. A man of less culture and poise and wealth
|
||
would have sworn. But Blinker always remembered that he was a
|
||
gentleman—a thing that no gentleman should do. So he merely looked
|
||
bored and sardonic while he rode in a hansom to the center of
|
||
disturbance, which was the Broadway office of Lawyer Oldport, who was
|
||
agent for the Blinker estate.
|
||
|
||
“I don’t see,” said Blinker, “why I should be always signing confounded
|
||
papers. I am packed, and was to have left for the North Woods this
|
||
morning. Now I must wait until to-morrow morning. I hate night trains.
|
||
My best razors are, of course, at the bottom of some unidentifiable
|
||
trunk. It is a plot to drive me to bay rum and a monologueing,
|
||
thumb-handed barber. Give me a pen that doesn’t scratch. I hate pens
|
||
that scratch.”
|
||
|
||
“Sit down,” said double-chinned, gray Lawyer Oldport. “The worst has
|
||
not been told you. Oh, the hardships of the rich! The papers are not
|
||
yet ready to sign. They will be laid before you to-morrow at eleven.
|
||
You will miss another day. Twice shall the barber tweak the helpless
|
||
nose of a Blinker. Be thankful that your sorrows do not embrace a
|
||
haircut.”
|
||
|
||
“If,” said Blinker, rising, “the act did not involve more signing of
|
||
papers I would take my business out of your hands at once. Give me a
|
||
cigar, please.”
|
||
|
||
“If,” said Lawyer Oldport, “I had cared to see an old friend’s son
|
||
gulped down at one mouthful by sharks I would have ordered you to take
|
||
it away long ago. Now, let’s quit fooling, Alexander. Besides the
|
||
grinding task of signing your name some thirty times to-morrow, I must
|
||
impose upon you the consideration of a matter of business—of business,
|
||
and I may say humanity or right. I spoke to you about this five years
|
||
ago, but you would not listen—you were in a hurry for a coaching trip,
|
||
I think. The subject has come up again. The property—”
|
||
|
||
“Oh, property!” interrupted Blinker. “Dear Mr. Oldport, I think you
|
||
mentioned to-morrow. Let’s have it all at one dose to-morrow—signatures
|
||
and property and snappy rubber bands and that smelly sealing-wax and
|
||
all. Have luncheon with me? Well, I’ll try to remember to drop in at
|
||
eleven to-morrow. Morning.”
|
||
|
||
The Blinker wealth was in lands, tenements and hereditaments, as the
|
||
legal phrase goes. Lawyer Oldport had once taken Alexander in his
|
||
little pulmonary gasoline runabout to see the many buildings and rows
|
||
of buildings that he owned in the city. For Alexander was sole heir.
|
||
They had amused Blinker very much. The houses looked so incapable of
|
||
producing the big sums of money that Lawyer Oldport kept piling up in
|
||
banks for him to spend.
|
||
|
||
In the evening Blinker went to one of his clubs, intending to dine.
|
||
Nobody was there except some old fogies playing whist who spoke to him
|
||
with grave politeness and glared at him with savage contempt. Everybody
|
||
was out of town. But here he was kept in like a schoolboy to write his
|
||
name over and over on pieces of paper. His wounds were deep.
|
||
|
||
Blinker turned his back on the fogies, and said to the club steward who
|
||
had come forward with some nonsense about cold fresh salmon roe:
|
||
|
||
“Symons, I’m going to Coney Island.” He said it as one might say:
|
||
“All’s off; I’m going to jump into the river.”
|
||
|
||
The joke pleased Symons. He laughed within a sixteenth of a note of the
|
||
audibility permitted by the laws governing employees.
|
||
|
||
“Certainly, sir,” he tittered. “Of course, sir, I think I can see you
|
||
at Coney, Mr. Blinker.”
|
||
|
||
Blinker got a paper and looked up the movements of Sunday steamboats.
|
||
Then he found a cab at the first corner and drove to a North River
|
||
pier. He stood in line, as democratic as you or I, and bought a ticket,
|
||
and was trampled upon and shoved forward until, at last, he found
|
||
himself on the upper deck of the boat staring brazenly at a girl who
|
||
sat alone upon a camp stool. But Blinker did not intend to be brazen;
|
||
the girl was so wonderfully good looking that he forgot for one minute
|
||
that he was the prince incog, and behaved just as he did in society.
|
||
|
||
She was looking at him, too, and not severely. A puff of wind
|
||
threatened Blinker’s straw hat. He caught it warily and settled it
|
||
again. The movement gave the effect of a bow. The girl nodded and
|
||
smiled, and in another instant he was seated at her side. She was
|
||
dressed all in white, she was paler than Blinker imagined milkmaids and
|
||
girls of humble stations to be, but she was as tidy as a cherry
|
||
blossom, and her steady, supremely frank gray eyes looked out from the
|
||
intrepid depths of an unshadowed and untroubled soul.
|
||
|
||
“How dare you raise your hat to me?” she asked, with a smile-redeemed
|
||
severity.
|
||
|
||
“I didn’t,” Blinker said, but he quickly covered the mistake by
|
||
extending it to “I didn’t know how to keep from it after I saw you.”
|
||
|
||
“I do not allow gentlemen to sit by me to whom I have not been
|
||
introduced,” she said, with a sudden haughtiness that deceived him. He
|
||
rose reluctantly, but her clear, teasing laugh brought him down to his
|
||
chair again.
|
||
|
||
“I guess you weren’t going far,” she declared, with beauty’s
|
||
magnificent self-confidence.
|
||
|
||
“Are you going to Coney Island?” asked Blinker.
|
||
|
||
“Me?” She turned upon him wide-open eyes full of bantering surprise.
|
||
“Why, what a question! Can’t you see that I’m riding a bicycle in the
|
||
park?” Her drollery took the form of impertinence.
|
||
|
||
“And I am laying brick on a tall factory chimney,” said Blinker.
|
||
“Mayn’t we see Coney together? I’m all alone and I’ve never been there
|
||
before.”
|
||
|
||
“It depends,” said the girl, “on how nicely you behave. I’ll consider
|
||
your application until we get there.”
|
||
|
||
Blinker took pains to provide against the rejection of his application.
|
||
He strove to please. To adopt the metaphor of his nonsensical phrase,
|
||
he laid brick upon brick on the tall chimney of his devoirs until, at
|
||
length, the structure was stable and complete. The manners of the best
|
||
society come around finally to simplicity; and as the girl’s way was
|
||
that naturally, they were on a mutual plane of communication from the
|
||
beginning.
|
||
|
||
He learned that she was twenty, and her name was Florence; that she
|
||
trimmed hats in a millinery shop; that she lived in a furnished room
|
||
with her best chum Ella, who was cashier in a shoe store; and that a
|
||
glass of milk from the bottle on the window-sill and an egg that boils
|
||
itself while you twist up your hair makes a breakfast good enough for
|
||
any one. Florence laughed when she heard “Blinker.”
|
||
|
||
“Well,” she said. “It certainly shows that you have imagination. It
|
||
gives the ‘Smiths’ a chance for a little rest, anyhow.”
|
||
|
||
They landed at Coney, and were dashed on the crest of a great human
|
||
wave of mad pleasure-seekers into the walks and avenues of Fairyland
|
||
gone into vaudeville.
|
||
|
||
With a curious eye, a critical mind and a fairly withheld judgment
|
||
Blinker considered the temples, pagodas and kiosks of popularized
|
||
delights. Hoi polloi trampled, hustled and crowded him. Basket parties
|
||
bumped him; sticky children tumbled, howling, under his feet, candying
|
||
his clothes. Insolent youths strolling among the booths with hard-won
|
||
canes under one arm and easily won girls on the other, blew defiant
|
||
smoke from cheap cigars into his face. The publicity gentlemen with
|
||
megaphones, each before his own stupendous attraction, roared like
|
||
Niagara in his ears. Music of all kinds that could be tortured from
|
||
brass, reed, hide or string, fought in the air to gain space for its
|
||
vibrations against its competitors. But what held Blinker in awful
|
||
fascination was the mob, the multitude, the proletariat shrieking,
|
||
struggling, hurrying, panting, hurling itself in incontinent frenzy,
|
||
with unabashed abandon, into the ridiculous sham palaces of trumpery
|
||
and tinsel pleasures. The vulgarity of it, its brutal overriding of all
|
||
the tenets of repression and taste that were held by his caste,
|
||
repelled him strongly.
|
||
|
||
In the midst of his disgust he turned and looked down at Florence by
|
||
his side. She was ready with her quick smile and upturned, happy eyes,
|
||
as bright and clear as the water in trout pools. The eyes were saying
|
||
that they had the right to be shining and happy, for was their owner
|
||
not with her (for the present) Man, her Gentleman Friend and holder of
|
||
the keys to the enchanted city of fun?
|
||
|
||
Blinker did not read her look accurately, but by some miracle he
|
||
suddenly saw Coney aright.
|
||
|
||
He no longer saw a mass of vulgarians seeking gross joys. He now looked
|
||
clearly upon a hundred thousand true idealists. Their offenses were
|
||
wiped out. Counterfeit and false though the garish joys of these
|
||
spangled temples were, he perceived that deep under the gilt surface
|
||
they offered saving and apposite balm and satisfaction to the restless
|
||
human heart. Here, at least, was the husk of Romance, the empty but
|
||
shining casque of Chivalry, the breath-catching though safe-guarded dip
|
||
and flight of Adventure, the magic carpet that transports you to the
|
||
realms of fairyland, though its journey be through but a few poor yards
|
||
of space. He no longer saw a rabble, but his brothers seeking the
|
||
ideal. There was no magic of poesy here or of art; but the glamour of
|
||
their imagination turned yellow calico into cloth of gold and the
|
||
megaphones into the silver trumpets of joy’s heralds.
|
||
|
||
Almost humbled, Blinker rolled up the shirt sleeves of his mind and
|
||
joined the idealists.
|
||
|
||
“You are the lady doctor,” he said to Florence. “How shall we go about
|
||
doing this jolly conglomeration of fairy tales, incorporated?”
|
||
|
||
“We will begin there,” said the Princess, pointing to a fun pagoda on
|
||
the edge of the sea, “and we will take them all in, one by one.”
|
||
|
||
They caught the eight o’clock returning boat and sat, filled with
|
||
pleasant fatigue, against the rail in the bow, listening to the
|
||
Italians’ fiddle and harp. Blinker had thrown off all care. The North
|
||
Woods seemed to him an uninhabitable wilderness. What a fuss he had
|
||
made over signing his name—pooh! he could sign it a hundred times. And
|
||
her name was as pretty as she was—“Florence,” he said it to himself a
|
||
great many times.
|
||
|
||
As the boat was nearing its pier in the North River a two-funnelled,
|
||
drab, foreign-looking sea-going steamer was dropping down toward the
|
||
bay. The boat turned its nose in toward its slip. The steamer veered as
|
||
if to seek midstream, and then yawed, seemed to increase its speed and
|
||
struck the Coney boat on the side near the stern, cutting into it with
|
||
a terrifying shock and crash.
|
||
|
||
While the six hundred passengers on the boat were mostly tumbling about
|
||
the decks in a shrieking panic the captain was shouting at the steamer
|
||
that it should not back off and leave the rent exposed for the water to
|
||
enter. But the steamer tore its way out like a savage sawfish and
|
||
cleaved its heartless way, full speed ahead.
|
||
|
||
The boat began to sink at its stern, but moved slowly toward the slip.
|
||
The passengers were a frantic mob, unpleasant to behold.
|
||
|
||
Blinker held Florence tightly until the boat had righted itself. She
|
||
made no sound or sign of fear. He stood on a camp stool, ripped off the
|
||
slats above his head and pulled down a number of the life preservers.
|
||
He began to buckle one around Florence. The rotten canvas split and the
|
||
fraudulent granulated cork came pouring out in a stream. Florence
|
||
caught a handful of it and laughed gleefully.
|
||
|
||
“It looks like breakfast food,” she said. “Take it off. They’re no
|
||
good.”
|
||
|
||
She unbuckled it and threw it on the deck. She made Blinker sit down
|
||
and sat by his side and put her hand in his. “What’ll you bet we don’t
|
||
reach the pier all right?” she said and began to hum a song.
|
||
|
||
And now the captain moved among the passengers and compelled order. The
|
||
boat would undoubtedly make her slip, he said, and ordered the women
|
||
and children to the bow, where they could land first. The boat, very
|
||
low in the water at the stern, tried gallantly to make his promise
|
||
good.
|
||
|
||
“Florence,” said Blinker, as she held him close by an arm and hand, “I
|
||
love you.”
|
||
|
||
“That’s what they all say,” she replied, lightly.
|
||
|
||
“I am not one of ‘they all,’” he persisted. “I never knew any one I
|
||
could love before. I could pass my life with you and be happy every
|
||
day. I am rich. I can make things all right for you.”
|
||
|
||
“That’s what they all say,” said the girl again, weaving the words into
|
||
her little, reckless song.
|
||
|
||
“Don’t say that again,” said Blinker in a tone that made her look at
|
||
him in frank surprise.
|
||
|
||
“Why shouldn’t I say it?” she asked calmly. “They all do.”
|
||
|
||
“Who are ‘they’?” he asked, jealous for the first time in his
|
||
existence.
|
||
|
||
“Why, the fellows I know.”
|
||
|
||
“Do you know so many?”
|
||
|
||
“Oh, well, I’m not a wall flower,” she answered with modest
|
||
complacency.
|
||
|
||
“Where do you see these—these men? At your home?”
|
||
|
||
“Of course not. I meet them just as I did you. Sometimes on the boat,
|
||
sometimes in the park, sometimes on the street. I’m a pretty good judge
|
||
of a man. I can tell in a minute if a fellow is one who is likely to
|
||
get fresh.”
|
||
|
||
“What do you mean by ‘fresh?’”
|
||
|
||
“Why, try to kiss you—me, I mean.”
|
||
|
||
“Do any of them try that?” asked Blinker, clenching his teeth.
|
||
|
||
“Sure. All men do. You know that.”
|
||
|
||
“Do you allow them?”
|
||
|
||
“Some. Not many. They won’t take you out anywhere unless you do.”
|
||
|
||
She turned her head and looked searchingly at Blinker. Her eyes were as
|
||
innocent as a child’s. There was a puzzled look in them, as though she
|
||
did not understand him.
|
||
|
||
“What’s wrong about my meeting fellows?” she asked, wonderingly.
|
||
|
||
“Everything,” he answered, almost savagely. “Why don’t you entertain
|
||
your company in the house where you live? Is it necessary to pick up
|
||
Tom, Dick and Harry on the streets?”
|
||
|
||
She kept her absolutely ingenuous eyes upon his. “If you could see the
|
||
place where I live you wouldn’t ask that. I live in Brickdust Row. They
|
||
call it that because there’s red dust from the bricks crumbling over
|
||
everything. I’ve lived there for more than four years. There’s no place
|
||
to receive company. You can’t have anybody come to your room. What else
|
||
is there to do? A girl has got to meet the men, hasn’t she?”
|
||
|
||
“Yes,” he said, hoarsely. “A girl has got to meet a—has got to meet the
|
||
men.”
|
||
|
||
“The first time one spoke to me on the street,” she continued, “I ran
|
||
home and cried all night. But you get used to it. I meet a good many
|
||
nice fellows at church. I go on rainy days and stand in the vestibule
|
||
until one comes up with an umbrella. I wish there was a parlor, so I
|
||
could ask you to call, Mr. Blinker—are you really sure it isn’t
|
||
‘Smith,’ now?”
|
||
|
||
The boat landed safely. Blinker had a confused impression of walking
|
||
with the girl through quiet crosstown streets until she stopped at a
|
||
corner and held out her hand.
|
||
|
||
“I live just one more block over,” she said. “Thank you for a very
|
||
pleasant afternoon.”
|
||
|
||
Blinker muttered something and plunged northward till he found a cab. A
|
||
big, gray church loomed slowly at his right. Blinker shook his fist at
|
||
it through the window.
|
||
|
||
“I gave you a thousand dollars last week,” he cried under his breath,
|
||
“and she meets them in your very doors. There is something wrong; there
|
||
is something wrong.”
|
||
|
||
At eleven the next day Blinker signed his name thirty times with a new
|
||
pen provided by Lawyer Oldport.
|
||
|
||
“Now let me go to the woods,” he said surlily.
|
||
|
||
“You are not looking well,” said Lawyer Oldport. “The trip will do you
|
||
good. But listen, if you will, to that little matter of business of
|
||
which I spoke to you yesterday, and also five years ago. There are some
|
||
buildings, fifteen in number, of which there are new five-year leases
|
||
to be signed. Your father contemplated a change in the lease
|
||
provisions, but never made it. He intended that the parlors of these
|
||
houses should not be sub-let, but that the tenants should be allowed to
|
||
use them for reception rooms. These houses are in the shopping
|
||
district, and are mainly tenanted by young working girls. As it is they
|
||
are forced to seek companionship outside. This row of red brick—”
|
||
|
||
Blinker interrupted him with a loud, discordant laugh.
|
||
|
||
“Brickdust Row for an even hundred,” he cried. “And I own it. Have I
|
||
guessed right?”
|
||
|
||
“The tenants have some such name for it,” said Lawyer Oldport.
|
||
|
||
Blinker arose and jammed his hat down to his eyes.
|
||
|
||
“Do what you please with it,” he said harshly. “Remodel it, burn it,
|
||
raze it to the ground. But, man, it’s too late I tell you. It’s too
|
||
late. It’s too late. It’s too late.”
|
||
|
||
|
||
|
||
|
||
THE MAKING OF A NEW YORKER
|
||
|
||
|
||
Besides many other things, Raggles was a poet. He was called a tramp;
|
||
but that was only an elliptical way of saying that he was a
|
||
philosopher, an artist, a traveller, a naturalist and a discoverer. But
|
||
most of all he was a poet. In all his life he never wrote a line of
|
||
verse; he lived his poetry. His Odyssey would have been a Limerick, had
|
||
it been written. But, to linger with the primary proposition, Raggles
|
||
was a poet.
|
||
|
||
Raggles’s specialty, had he been driven to ink and paper, would have
|
||
been sonnets to the cities. He studied cities as women study their
|
||
reflections in mirrors; as children study the glue and sawdust of a
|
||
dislocated doll; as the men who write about wild animals study the
|
||
cages in the zoo. A city to Raggles was not merely a pile of bricks and
|
||
mortar, peopled by a certain number of inhabitants; it was a thing with
|
||
a soul characteristic and distinct; an individual conglomeration of
|
||
life, with its own peculiar essence, flavor and feeling. Two thousand
|
||
miles to the north and south, east and west, Raggles wandered in poetic
|
||
fervor, taking the cities to his breast. He footed it on dusty roads,
|
||
or sped magnificently in freight cars, counting time as of no account.
|
||
And when he had found the heart of a city and listened to its secret
|
||
confession, he strayed on, restless, to another. Fickle Raggles!—but
|
||
perhaps he had not met the civic corporation that could engage and hold
|
||
his critical fancy.
|
||
|
||
Through the ancient poets we have learned that the cities are feminine.
|
||
So they were to poet Raggles; and his mind carried a concrete and clear
|
||
conception of the figure that symbolized and typified each one that he
|
||
had wooed.
|
||
|
||
Chicago seemed to swoop down upon him with a breezy suggestion of Mrs.
|
||
Partington, plumes and patchouli, and to disturb his rest with a
|
||
soaring and beautiful song of future promise. But Raggles would awake
|
||
to a sense of shivering cold and a haunting impression of ideals lost
|
||
in a depressing aura of potato salad and fish.
|
||
|
||
Thus Chicago affected him. Perhaps there is a vagueness and inaccuracy
|
||
in the description; but that is Raggles’s fault. He should have
|
||
recorded his sensations in magazine poems.
|
||
|
||
Pittsburg impressed him as the play of “Othello” performed in the
|
||
Russian language in a railroad station by Dockstader’s minstrels. A
|
||
royal and generous lady this Pittsburg, though—homely, hearty, with
|
||
flushed face, washing the dishes in a silk dress and white kid
|
||
slippers, and bidding Raggles sit before the roaring fireplace and
|
||
drink champagne with his pigs’ feet and fried potatoes.
|
||
|
||
New Orleans had simply gazed down upon him from a balcony. He could see
|
||
her pensive, starry eyes and catch the flutter of her fan, and that was
|
||
all. Only once he came face to face with her. It was at dawn, when she
|
||
was flushing the red bricks of the banquette with a pail of water. She
|
||
laughed and hummed a chansonette and filled Raggles’s shoes with
|
||
ice-cold water. Allons!
|
||
|
||
Boston construed herself to the poetic Raggles in an erratic and
|
||
singular way. It seemed to him that he had drunk cold tea and that the
|
||
city was a white, cold cloth that had been bound tightly around his
|
||
brow to spur him to some unknown but tremendous mental effort. And,
|
||
after all, he came to shovel snow for a livelihood; and the cloth,
|
||
becoming wet, tightened its knots and could not be removed.
|
||
|
||
Indefinite and unintelligible ideas, you will say; but your
|
||
disapprobation should be tempered with gratitude, for these are poets’
|
||
fancies—and suppose you had come upon them in verse!
|
||
|
||
One day Raggles came and laid siege to the heart of the great city of
|
||
Manhattan. She was the greatest of all; and he wanted to learn her note
|
||
in the scale; to taste and appraise and classify and solve and label
|
||
her and arrange her with the other cities that had given him up the
|
||
secret of their individuality. And here we cease to be Raggles’s
|
||
translator and become his chronicler.
|
||
|
||
Raggles landed from a ferry-boat one morning and walked into the core
|
||
of the town with the blasé air of a cosmopolite. He was dressed with
|
||
care to play the rôle of an “unidentified man.” No country, race,
|
||
class, clique, union, party clan or bowling association could have
|
||
claimed him. His clothing, which had been donated to him piece-meal by
|
||
citizens of different height, but same number of inches around the
|
||
heart, was not yet as uncomfortable to his figure as those specimens of
|
||
raiment, self-measured, that are railroaded to you by transcontinental
|
||
tailors with a suit case, suspenders, silk handkerchief and pearl studs
|
||
as a bonus. Without money—as a poet should be—but with the ardor of an
|
||
astronomer discovering a new star in the chorus of the milky way, or a
|
||
man who has seen ink suddenly flow from his fountain pen, Raggles
|
||
wandered into the great city.
|
||
|
||
Late in the afternoon he drew out of the roar and commotion with a look
|
||
of dumb terror on his countenance. He was defeated, puzzled,
|
||
discomfited, frightened. Other cities had been to him as long primer to
|
||
read; as country maidens quickly to fathom; as
|
||
send-price-of-subscription-with-answer rebuses to solve; as oyster
|
||
cocktails to swallow; but here was one as cold, glittering, serene,
|
||
impossible as a four-carat diamond in a window to a lover outside
|
||
fingering damply in his pocket his ribbon-counter salary.
|
||
|
||
The greetings of the other cities he had known—their homespun
|
||
kindliness, their human gamut of rough charity, friendly curses,
|
||
garrulous curiosity and easily estimated credulity or indifference.
|
||
This city of Manhattan gave him no clue; it was walled against him.
|
||
Like a river of adamant it flowed past him in the streets. Never an eye
|
||
was turned upon him; no voice spoke to him. His heart yearned for the
|
||
clap of Pittsburg’s sooty hand on his shoulder; for Chicago’s menacing
|
||
but social yawp in his ear; for the pale and eleemosynary stare through
|
||
the Bostonian eyeglass—even for the precipitate but unmalicious
|
||
boot-toe of Louisville or St. Louis.
|
||
|
||
On Broadway Raggles, successful suitor of many cities, stood, bashful,
|
||
like any country swain. For the first time he experienced the poignant
|
||
humiliation of being ignored. And when he tried to reduce this
|
||
brilliant, swiftly changing, ice-cold city to a formula he failed
|
||
utterly. Poet though he was, it offered him no color similes, no points
|
||
of comparison, no flaw in its polished facets, no handle by which he
|
||
could hold it up and view its shape and structure, as he familiarly and
|
||
often contemptuously had done with other towns. The houses were
|
||
interminable ramparts loopholed for defense; the people were bright but
|
||
bloodless spectres passing in sinister and selfish array.
|
||
|
||
The thing that weighed heaviest on Raggles’s soul and clogged his
|
||
poet’s fancy was the spirit of absolute egotism that seemed to saturate
|
||
the people as toys are saturated with paint. Each one that he
|
||
considered appeared a monster of abominable and insolent conceit.
|
||
Humanity was gone from them; they were toddling idols of stone and
|
||
varnish, worshipping themselves and greedy for though oblivious of
|
||
worship from their fellow graven images. Frozen, cruel, implacable,
|
||
impervious, cut to an identical pattern, they hurried on their ways
|
||
like statues brought by some miracles to motion, while soul and feeling
|
||
lay unaroused in the reluctant marble.
|
||
|
||
Gradually Raggles became conscious of certain types. One was an elderly
|
||
gentleman with a snow-white, short beard, pink, unwrinkled face and
|
||
stony, sharp blue eyes, attired in the fashion of a gilded youth, who
|
||
seemed to personify the city’s wealth, ripeness and frigid unconcern.
|
||
Another type was a woman, tall, beautiful, clear as a steel engraving,
|
||
goddess-like, calm, clothed like the princesses of old, with eyes as
|
||
coldly blue as the reflection of sunlight on a glacier. And another was
|
||
a by-product of this town of marionettes—a broad, swaggering, grim,
|
||
threateningly sedate fellow, with a jowl as large as a harvested wheat
|
||
field, the complexion of a baptized infant and the knuckles of a
|
||
prize-fighter. This type leaned against cigar signs and viewed the
|
||
world with frappéd contumely.
|
||
|
||
A poet is a sensitive creature, and Raggles soon shrivelled in the
|
||
bleak embrace of the undecipherable. The chill, sphinx-like, ironical,
|
||
illegible, unnatural, ruthless expression of the city left him downcast
|
||
and bewildered. Had it no heart? Better the woodpile, the scolding of
|
||
vinegar-faced housewives at back doors, the kindly spleen of bartenders
|
||
behind provincial free-lunch counters, the amiable truculence of rural
|
||
constables, the kicks, arrests and happy-go-lucky chances of the other
|
||
vulgar, loud, crude cities than this freezing heartlessness.
|
||
|
||
Raggles summoned his courage and sought alms from the populace.
|
||
Unheeding, regardless, they passed on without the wink of an eyelash to
|
||
testify that they were conscious of his existence. And then he said to
|
||
himself that this fair but pitiless city of Manhattan was without a
|
||
soul; that its inhabitants were manikins moved by wires and springs,
|
||
and that he was alone in a great wilderness.
|
||
|
||
Raggles started to cross the street. There was a blast, a roar, a
|
||
hissing and a crash as something struck him and hurled him over and
|
||
over six yards from where he had been. As he was coming down like the
|
||
stick of a rocket the earth and all the cities thereof turned to a
|
||
fractured dream.
|
||
|
||
Raggles opened his eyes. First an odor made itself known to him—an odor
|
||
of the earliest spring flowers of Paradise. And then a hand soft as a
|
||
falling petal touched his brow. Bending over him was the woman clothed
|
||
like the princess of old, with blue eyes, now soft and humid with human
|
||
sympathy. Under his head on the pavement were silks and furs. With
|
||
Raggles’s hat in his hand and with his face pinker than ever from a
|
||
vehement burst of oratory against reckless driving, stood the elderly
|
||
gentleman who personified the city’s wealth and ripeness. From a nearby
|
||
café hurried the by-product with the vast jowl and baby complexion,
|
||
bearing a glass full of a crimson fluid that suggested delightful
|
||
possibilities.
|
||
|
||
“Drink dis, sport,” said the by-product, holding the glass to Raggles’s
|
||
lips.
|
||
|
||
Hundreds of people huddled around in a moment, their faces wearing the
|
||
deepest concern. Two flattering and gorgeous policemen got into the
|
||
circle and pressed back the overplus of Samaritans. An old lady in a
|
||
black shawl spoke loudly of camphor; a newsboy slipped one of his
|
||
papers beneath Raggles’s elbow, where it lay on the muddy pavement. A
|
||
brisk young man with a notebook was asking for names.
|
||
|
||
A bell clanged importantly, and the ambulance cleaned a lane through
|
||
the crowd. A cool surgeon slipped into the midst of affairs.
|
||
|
||
“How do you feel, old man?” asked the surgeon, stooping easily to his
|
||
task. The princess of silks and satins wiped a red drop or two from
|
||
Raggles’s brow with a fragrant cobweb.
|
||
|
||
“Me?” said Raggles, with a seraphic smile, “I feel fine.”
|
||
|
||
He had found the heart of his new city.
|
||
|
||
In three days they let him leave his cot for the convalescent ward in
|
||
the hospital. He had been in there an hour when the attendants heard
|
||
sounds of conflict. Upon investigation they found that Raggles had
|
||
assaulted and damaged a brother convalescent—a glowering transient whom
|
||
a freight train collision had sent in to be patched up.
|
||
|
||
“What’s all this about?” inquired the head nurse.
|
||
|
||
“He was runnin’ down me town,” said Raggles.
|
||
|
||
“What town?” asked the nurse.
|
||
|
||
“Noo York,” said Raggles.
|
||
|
||
|
||
|
||
|
||
VANITY AND SOME SABLES
|
||
|
||
|
||
When “Kid” Brady was sent to the ropes by Molly McKeever’s blue-black
|
||
eyes he withdrew from the Stovepipe Gang. So much for the power of a
|
||
colleen’s blanderin’ tongue and stubborn true-heartedness. If you are a
|
||
man who read this, may such an influence be sent you before 2 o’clock
|
||
to-morrow; if you are a woman, may your Pomeranian greet you this
|
||
morning with a cold nose—a sign of doghealth and your happiness.
|
||
|
||
The Stovepipe Gang borrowed its name from a sub-district of the city
|
||
called the “Stovepipe,” which is a narrow and natural extension of the
|
||
familiar district known as “Hell’s Kitchen.” The “Stovepipe” strip of
|
||
town runs along Eleventh and Twelfth avenues on the river, and bends a
|
||
hard and sooty elbow around little, lost homeless DeWitt Clinton park.
|
||
Consider that a stovepipe is an important factor in any kitchen and the
|
||
situation is analyzed. The chefs in “Hell’s Kitchen” are many, and the
|
||
“Stovepipe” gang, wears the cordon blue.
|
||
|
||
The members of this unchartered but widely known brotherhood appeared
|
||
to pass their time on street corners arrayed like the lilies of the
|
||
conservatory and busy with nail files and penknives. Thus displayed as
|
||
a guarantee of good faith, they carried on an innocuous conversation in
|
||
a 200-word vocabulary, to the casual observer as innocent and
|
||
immaterial as that heard in clubs seven blocks to the east.
|
||
|
||
But off exhibition the “Stovepipes” were not mere street corner
|
||
ornaments addicted to posing and manicuring. Their serious occupation
|
||
was the separating of citizens from their coin and valuables.
|
||
Preferably this was done by weird and singular tricks without noise or
|
||
bloodshed; but whenever the citizen honored by their attentions refused
|
||
to impoverish himself gracefully his objections came to be spread
|
||
finally upon some police station blotter or hospital register.
|
||
|
||
The police held the “Stovepipe” gang in perpetual suspicion and
|
||
respect. As the nightingale’s liquid note is heard in the deepest
|
||
shadows, so along the “Stovepipe’s” dark and narrow confines the
|
||
whistle for reserves punctures the dull ear of night. Whenever there
|
||
was smoke in the “stovepipe” the tasselled men in blue knew there was
|
||
fire in “Hell’s Kitchen.”
|
||
|
||
“Kid” Brady promised Molly to be good. “Kid” was the vainest, the
|
||
strongest, the wariest and the most successful plotter in the gang.
|
||
Therefore, the boys were sorry to give him up.
|
||
|
||
But they witnessed his fall to a virtuous life without protest. For, in
|
||
the Kitchen it is considered neither unmanly nor improper for a guy to
|
||
do as his girl advises.
|
||
|
||
Black her eye for love’s sake, if you will; but it is all-to-the-good
|
||
business to do a thing when she wants you to do it.
|
||
|
||
“Turn off the hydrant,” said the Kid, one night when Molly, tearful,
|
||
besought him to amend his ways. “I’m going to cut out the gang. You for
|
||
mine, and the simple life on the side. I’ll tell you, Moll—I’ll get
|
||
work; and in a year we’ll get married. I’ll do it for you. We’ll get a
|
||
flat and a flute, and a sewing machine and a rubber plant and live as
|
||
honest as we can.”
|
||
|
||
“Oh, Kid,” sighed Molly, wiping the powder off his shoulder with her
|
||
handkerchief, “I’d rather hear you say that than to own all of New
|
||
York. And we can be happy on so little!”
|
||
|
||
The Kid looked down at his speckless cuffs and shining patent leathers
|
||
with a suspicion of melancholy.
|
||
|
||
“It’ll hurt hardest in the rags department,” said he. “I’ve kind of
|
||
always liked to rig out swell when I could. You know how I hate cheap
|
||
things, Moll. This suit set me back sixty-five. Anything in the wearing
|
||
apparel line has got to be just so, or it’s to the misfit parlors for
|
||
it, for mine. If I work I won’t have so much coin to hand over to the
|
||
little man with the big shears.”
|
||
|
||
“Never mind, Kid. I’ll like you just as much in a blue jumper as I
|
||
would in a red automobile.”
|
||
|
||
Before the Kid had grown large enough to knock out his father he had
|
||
been compelled to learn the plumber’s art. So now back to this
|
||
honorable and useful profession he returned. But it was as an assistant
|
||
that he engaged himself; and it is the master plumber and not the
|
||
assistant, who wears diamonds as large as hailstones and looks
|
||
contemptuously upon the marble colonnades of Senator Clark’s mansion.
|
||
|
||
Eight months went by as smoothly and surely as though they had
|
||
“elapsed” on a theater program. The Kid worked away at his pipes and
|
||
solder with no symptoms of backsliding. The Stovepipe gang continued
|
||
its piracy on the high avenues, cracked policemen’s heads, held up late
|
||
travelers, invented new methods of peaceful plundering, copied Fifth
|
||
avenue’s cut of clothes and neckwear fancies and comported itself
|
||
according to its lawless bylaws. But the Kid stood firm and faithful to
|
||
his Molly, even though the polish was gone from his fingernails and it
|
||
took him 15 minutes to tie his purple silk ascot so that the worn
|
||
places would not show.
|
||
|
||
One evening he brought a mysterious bundle with him to Molly’s house.
|
||
|
||
“Open that, Moll!” he said in his large, quiet way. “It’s for you.”
|
||
|
||
Molly’s eager fingers tore off the wrappings. She shrieked aloud, and
|
||
in rushed a sprinkling of little McKeevers, and Ma McKeever, dishwashy,
|
||
but an undeniable relative of the late Mrs. Eve.
|
||
|
||
Again Molly shrieked, and something dark and long and sinuous flew and
|
||
enveloped her neck like an anaconda.
|
||
|
||
“Russian sables,” said the Kid, pridefully, enjoying the sight of
|
||
Molly’s round cheek against the clinging fur. “The real thing. They
|
||
don’t grow anything in Russia too good for you, Moll.”
|
||
|
||
Molly plunged her hands into the muff, overturned a row of the family
|
||
infants and flew to the mirror. Hint for the beauty column. To make
|
||
bright eyes, rosy cheeks and a bewitching smile: Recipe—one set Russian
|
||
sables. Apply.
|
||
|
||
When they were alone Molly became aware of a small cake of the ice of
|
||
common sense floating down the full tide of her happiness.
|
||
|
||
“You’re a bird, all right, Kid,” she admitted gratefully. “I never had
|
||
any furs on before in my life. But ain’t Russian sables awful
|
||
expensive? Seems to me I’ve heard they were.”
|
||
|
||
“Have I ever chucked any bargain-sale stuff at you, Moll?” asked the
|
||
Kid, with calm dignity. “Did you ever notice me leaning on the remnant
|
||
counter or peering in the window of the five-and-ten? Call that scarf
|
||
$250 and the muff $175 and you won’t make any mistake about the price
|
||
of Russian sables. The swell goods for me. Say, they look fine on you,
|
||
Moll.”
|
||
|
||
Molly hugged the sables to her bosom in rapture. And then her smile
|
||
went away little by little, and she looked the Kid straight in the eye
|
||
sadly and steadily.
|
||
|
||
He knew what every look of hers meant; and he laughed with a faint
|
||
flush upon his face.
|
||
|
||
“Cut it out,” he said, with affectionate roughness. “I told you I was
|
||
done with that. I bought ’em and paid for ’em, all right, with my own
|
||
money.”
|
||
|
||
“Out of the money you worked for, Kid? Out of $75 a month?”
|
||
|
||
“Sure. I been saving up.”
|
||
|
||
“Let’s see—saved $425 in eight months, Kid?”
|
||
|
||
“Ah, let up,” said the Kid, with some heat. “I had some money when I
|
||
went to work. Do you think I’ve been holding ’em up again? I told you
|
||
I’d quit. They’re paid for on the square. Put ’em on and come out for a
|
||
walk.”
|
||
|
||
Molly calmed her doubts. Sables are soothing. Proud as a queen she went
|
||
forth in the streets at the Kid’s side. In all that region of low-lying
|
||
streets Russian sables had never been seen before. The word sped, and
|
||
doors and windows blossomed with heads eager to see the swell furs Kid
|
||
Brady had given his girl. All down the street there were “Oh’s” and
|
||
“Ah’s” and the reported fabulous sum paid for the sables was passed
|
||
from lip to lip, increasing as it went. At her right elbow sauntered
|
||
the Kid with the air of princes. Work had not diminished his love of
|
||
pomp and show and his passion for the costly and genuine. On a corner
|
||
they saw a group of the Stovepipe Gang loafing, immaculate. They raised
|
||
their hats to the Kid’s girl and went on with their calm, unaccented
|
||
palaver.
|
||
|
||
Three blocks behind the admired couple strolled Detective Ransom, of
|
||
the Central office. Ransom was the only detective on the force who
|
||
could walk abroad with safety in the Stovepipe district. He was fair
|
||
dealing and unafraid and went there with the hypothesis that the
|
||
inhabitants were human. Many liked him, and now and then one would tip
|
||
off to him something that he was looking for.
|
||
|
||
“What’s the excitement down the street?” asked Ransom of a pale youth
|
||
in a red sweater.
|
||
|
||
“Dey’re out rubberin’ at a set of buffalo robes Kid Brady staked his
|
||
girl to,” answered the youth. “Some say he paid $900 for de skins.
|
||
Dey’re swell all right enough.”
|
||
|
||
“I hear Brady has been working at his old trade for nearly a year,”
|
||
said the detective. “He doesn’t travel with the gang any more, does
|
||
he?”
|
||
|
||
“He’s workin’, all right,” said the red sweater, “but—say, sport, are
|
||
you trailin’ anything in the fur line? A job in a plumbin’ shop don’
|
||
match wid dem skins de Kid’s girl’s got on.”
|
||
|
||
Ransom overtook the strolling couple on an empty street near the river
|
||
bank. He touched the Kid’s arm from behind.
|
||
|
||
“Let me see you a moment, Brady,” he said, quietly. His eye rested for
|
||
a second on the long fur scarf thrown stylishly back over Molly’s left
|
||
shoulder. The Kid, with his old-time police hating frown on his face,
|
||
stepped a yard or two aside with the detective.
|
||
|
||
“Did you go to Mrs. Hethcote’s on West 7—th street yesterday to fix a
|
||
leaky water pipe?” asked Ransom.
|
||
|
||
“I did,” said the Kid. “What of it?”
|
||
|
||
“The lady’s $1,000 set of Russian sables went out of the house about
|
||
the same time you did. The description fits the ones this lady has on.”
|
||
|
||
“To h—Harlem with you,” cried the Kid, angrily. “You know I’ve cut out
|
||
that sort of thing, Ransom. I bought them sables yesterday at—”
|
||
|
||
The Kid stopped short.
|
||
|
||
“I know you’ve been working straight lately,” said Ransom. “I’ll give
|
||
you every chance. I’ll go with you where you say you bought the furs
|
||
and investigate. The lady can wear ’em along with us and nobody’ll be
|
||
on. That’s fair, Brady.”
|
||
|
||
“Come on,” agreed the Kid, hotly. And then he stopped suddenly in his
|
||
tracks and looked with an odd smile at Molly’s distressed and anxious
|
||
face.
|
||
|
||
“No use,” he said, grimly. “They’re the Hethcote sables, all right.
|
||
You’ll have to turn ’em over, Moll, but they ain’t too good for you if
|
||
they cost a million.”
|
||
|
||
Molly, with anguish in her face, hung upon the Kid’s arm.
|
||
|
||
“Oh, Kiddy, you’ve broke my heart,” she said. “I was so proud of
|
||
you—and now they’ll do you—and where’s our happiness gone?”
|
||
|
||
“Go home,” said the Kid, wildly. “Come on, Ransom—take the furs. Let’s
|
||
get away from here. Wait a minute—I’ve a good mind to—no, I’ll be d––––
|
||
if I can do it—run along, Moll—I’m ready, Ransom.”
|
||
|
||
Around the corner of a lumber-yard came Policeman Kohen on his way to
|
||
his beat along the river. The detective signed to him for assistance.
|
||
Kohen joined the group. Ransom explained.
|
||
|
||
“Sure,” said Kohen. “I hear about those saples dat vas stole. You say
|
||
you have dem here?”
|
||
|
||
Policeman Kohen took the end of Molly’s late scarf in his hands and
|
||
looked at it closely.
|
||
|
||
“Once,” he said, “I sold furs in Sixth avenue. Yes, dese are saples.
|
||
Dey come from Alaska. Dis scarf is vort $12 and dis muff—”
|
||
|
||
“Biff!” came the palm of the Kid’s powerful hand upon the policeman’s
|
||
mouth. Kohen staggered and rallied. Molly screamed. The detective threw
|
||
himself upon Brady and with Kohen’s aid got the nippers on his wrist.
|
||
|
||
“The scarf is vort $12 and the muff is vort $9,” persisted the
|
||
policeman. “Vot is dis talk about $1,000 saples?”
|
||
|
||
The Kid sat upon a pile of lumber and his face turned dark red.
|
||
|
||
“Correct, Solomonski!” he declared, viciously. “I paid $21.50 for the
|
||
set. I’d rather have got six months and not have told it. Me, the swell
|
||
guy that wouldn’t look at anything cheap! I’m a plain bluffer. Moll—my
|
||
salary couldn’t spell sables in Russian.”
|
||
|
||
Molly cast herself upon his neck.
|
||
|
||
“What do I care for all the sables and money in the world,” she cried.
|
||
“It’s my Kiddy I want. Oh, you dear, stuck-up, crazy blockhead!”
|
||
|
||
“You can take dose nippers off,” said Kohen to the detective. “Before I
|
||
leaf de station de report come in dat de lady vind her saples—hanging
|
||
in her wardrobe. Young man, I excuse you dat punch in my vace—dis von
|
||
time.”
|
||
|
||
Ransom handed Molly her furs. Her eyes were smiling upon the Kid. She
|
||
wound the scarf and threw the end over her left shoulder with a
|
||
duchess’ grace.
|
||
|
||
“A gouple of young vools,” said Policeman Kohen to Ransom; “come on
|
||
away.”
|
||
|
||
|
||
|
||
|
||
THE SOCIAL TRIANGLE
|
||
|
||
|
||
At the stroke of six Ikey Snigglefritz laid down his goose. Ikey was a
|
||
tailor’s apprentice. Are there tailor’s apprentices nowadays?
|
||
|
||
At any rate, Ikey toiled and snipped and basted and pressed and patched
|
||
and sponged all day in the steamy fetor of a tailor-shop. But when work
|
||
was done Ikey hitched his wagon to such stars as his firmament let
|
||
shine.
|
||
|
||
It was Saturday night, and the boss laid twelve begrimed and begrudged
|
||
dollars in his hand. Ikey dabbled discreetly in water, donned coat, hat
|
||
and collar with its frazzled tie and chalcedony pin, and set forth in
|
||
pursuit of his ideals.
|
||
|
||
For each of us, when our day’s work is done, must seek our ideal,
|
||
whether it be love or pinochle or lobster à la Newburg, or the sweet
|
||
silence of the musty bookshelves.
|
||
|
||
Behold Ikey as he ambles up the street beneath the roaring “El” between
|
||
the rows of reeking sweat-shops. Pallid, stooping, insignificant,
|
||
squalid, doomed to exist forever in penury of body and mind, yet, as he
|
||
swings his cheap cane and projects the noisome inhalations from his
|
||
cigarette you perceive that he nurtures in his narrow bosom the
|
||
bacillus of society.
|
||
|
||
Ikey’s legs carried him to and into that famous place of entertainment
|
||
known as the Café Maginnis—famous because it was the rendezvous of
|
||
Billy McMahan, the greatest man, the most wonderful man, Ikey thought,
|
||
that the world had ever produced.
|
||
|
||
Billy McMahan was the district leader. Upon him the Tiger purred, and
|
||
his hand held manna to scatter. Now, as Ikey entered, McMahan stood,
|
||
flushed and triumphant and mighty, the centre of a huzzaing concourse
|
||
of his lieutenants and constituents. It seems there had been an
|
||
election; a signal victory had been won; the city had been swept back
|
||
into line by a resistless besom of ballots.
|
||
|
||
Ikey slunk along the bar and gazed, breath-quickened, at his idol.
|
||
|
||
How magnificent was Billy McMahan, with his great, smooth, laughing
|
||
face; his gray eye, shrewd as a chicken hawk’s; his diamond ring, his
|
||
voice like a bugle call, his prince’s air, his plump and active roll of
|
||
money, his clarion call to friend and comrade—oh, what a king of men he
|
||
was! How he obscured his lieutenants, though they themselves loomed
|
||
large and serious, blue of chin and important of mien, with hands
|
||
buried deep in the pockets of their short overcoats! But Billy—oh, what
|
||
small avail are words to paint for you his glory as seen by Ikey
|
||
Snigglefritz!
|
||
|
||
The Café Maginnis rang to the note of victory. The white-coated
|
||
bartenders threw themselves featfully upon bottle, cork and glass. From
|
||
a score of clear Havanas the air received its paradox of clouds. The
|
||
leal and the hopeful shook Billy McMahan’s hand. And there was born
|
||
suddenly in the worshipful soul of Ikey Snigglefritz an audacious,
|
||
thrilling impulse.
|
||
|
||
He stepped forward into the little cleared space in which majesty
|
||
moved, and held out his hand.
|
||
|
||
Billy McMahan grasped it unhesitatingly, shook it and smiled.
|
||
|
||
Made mad now by the gods who were about to destroy him, Ikey threw away
|
||
his scabbard and charged upon Olympus.
|
||
|
||
“Have a drink with me, Billy,” he said familiarly, “you and your
|
||
friends?”
|
||
|
||
“Don’t mind if I do, old man,” said the great leader, “just to keep the
|
||
ball rolling.”
|
||
|
||
The last spark of Ikey’s reason fled.
|
||
|
||
“Wine,” he called to the bartender, waving a trembling hand.
|
||
|
||
The corks of three bottles were drawn; the champagne bubbled in the
|
||
long row of glasses set upon the bar. Billy McMahan took his and
|
||
nodded, with his beaming smile, at Ikey. The lieutenants and satellites
|
||
took theirs and growled “Here’s to you.” Ikey took his nectar in
|
||
delirium. All drank.
|
||
|
||
Ikey threw his week’s wages in a crumpled roll upon the bar.
|
||
|
||
“C’rect,” said the bartender, smoothing the twelve one-dollar notes.
|
||
The crowd surged around Billy McMahan again. Some one was telling how
|
||
Brannigan fixed ’em over in the Eleventh. Ikey leaned against the bar a
|
||
while, and then went out.
|
||
|
||
He went down Hester street and up Chrystie, and down Delancey to where
|
||
he lived. And there his women folk, a bibulous mother and three dingy
|
||
sisters, pounced upon him for his wages. And at his confession they
|
||
shrieked and objurgated him in the pithy rhetoric of the locality.
|
||
|
||
But even as they plucked at him and struck him Ikey remained in his
|
||
ecstatic trance of joy. His head was in the clouds; the star was
|
||
drawing his wagon. Compared with what he had achieved the loss of wages
|
||
and the bray of women’s tongues were slight affairs.
|
||
|
||
He had shaken the hand of Billy McMahan.
|
||
|
||
|
||
Billy McMahan had a wife, and upon her visiting cards was engraved the
|
||
name “Mrs. William Darragh McMahan.” And there was a certain vexation
|
||
attendant upon these cards; for, small as they were, there were houses
|
||
in which they could not be inserted. Billy McMahan was a dictator in
|
||
politics, a four-walled tower in business, a mogul, dreaded, loved and
|
||
obeyed among his own people. He was growing rich; the daily papers had
|
||
a dozen men on his trail to chronicle his every word of wisdom; he had
|
||
been honored in caricature holding the Tiger cringing in leash.
|
||
|
||
But the heart of Billy was sometimes sore within him. There was a race
|
||
of men from which he stood apart but that he viewed with the eye of
|
||
Moses looking over into the promised land. He, too, had ideals, even as
|
||
had Ikey Snigglefritz; and sometimes, hopeless of attaining them, his
|
||
own solid success was as dust and ashes in his mouth. And Mrs. William
|
||
Darragh McMahan wore a look of discontent upon her plump but pretty
|
||
face, and the very rustle of her silks seemed a sigh.
|
||
|
||
There was a brave and conspicuous assemblage in the dining saloon of a
|
||
noted hostelry where Fashion loves to display her charms. At one table
|
||
sat Billy McMahan and his wife. Mostly silent they were, but the
|
||
accessories they enjoyed little needed the indorsement of speech. Mrs.
|
||
McMahan’s diamonds were outshone by few in the room. The waiter bore
|
||
the costliest brands of wine to their table. In evening dress, with an
|
||
expression of gloom upon his smooth and massive countenance, you would
|
||
look in vain for a more striking figure than Billy’s.
|
||
|
||
Four tables away sat alone a tall, slender man, about thirty, with
|
||
thoughtful, melancholy eyes, a Van Dyke beard and peculiarly white,
|
||
thin hands. He was dining on filet mignon, dry toast and apollinaris.
|
||
That man was Cortlandt Van Duyckink, a man worth eighty millions, who
|
||
inherited and held a sacred seat in the exclusive inner circle of
|
||
society.
|
||
|
||
Billy McMahan spoke to no one around him, because he knew no one. Van
|
||
Duyckink kept his eyes on his plate because he knew that every one
|
||
present was hungry to catch his. He could bestow knighthood and
|
||
prestige by a nod, and he was chary of creating a too extensive
|
||
nobility.
|
||
|
||
And then Billy McMahan conceived and accomplished the most startling
|
||
and audacious act of his life. He rose deliberately and walked over to
|
||
Cortlandt Van Duyckink’s table and held out his hand.
|
||
|
||
“Say, Mr. Van Duyckink,” he said, “I’ve heard you was talking about
|
||
starting some reforms among the poor people down in my district. I’m
|
||
McMahan, you know. Say, now, if that’s straight I’ll do all I can to
|
||
help you. And what I says goes in that neck of the woods, don’t it? Oh,
|
||
say, I rather guess it does.”
|
||
|
||
Van Duyckink’s rather sombre eyes lighted up. He rose to his lank
|
||
height and grasped Billy McMahan’s hand.
|
||
|
||
“Thank you, Mr. McMahan,” he said, in his deep, serious tones. “I have
|
||
been thinking of doing some work of that sort. I shall be glad of your
|
||
assistance. It pleases me to have become acquainted with you.”
|
||
|
||
Billy walked back to his seat. His shoulder was tingling from the
|
||
accolade bestowed by royalty. A hundred eyes were now turned upon him
|
||
in envy and new admiration. Mrs. William Darragh McMahan trembled with
|
||
ecstasy, so that her diamonds smote the eye almost with pain. And now
|
||
it was apparent that at many tables there were those who suddenly
|
||
remembered that they enjoyed Mr. McMahan’s acquaintance. He saw smiles
|
||
and bows about him. He became enveloped in the aura of dizzy greatness.
|
||
His campaign coolness deserted him.
|
||
|
||
“Wine for that gang!” he commanded the waiter, pointing with his
|
||
finger. “Wine over there. Wine to those three gents by that green bush.
|
||
Tell ’em it’s on me. D––––n it! Wine for everybody!”
|
||
|
||
The waiter ventured to whisper that it was perhaps inexpedient to carry
|
||
out the order, in consideration of the dignity of the house and its
|
||
custom.
|
||
|
||
“All right,” said Billy, “if it’s against the rules. I wonder if
|
||
’twould do to send my friend Van Duyckink a bottle? No? Well, it’ll
|
||
flow all right at the caffy to-night, just the same. It’ll be rubber
|
||
boots for anybody who comes in there any time up to 2 A. M.”
|
||
|
||
Billy McMahan was happy.
|
||
|
||
He had shaken the hand of Cortlandt Van Duyckink.
|
||
|
||
|
||
The big pale-gray auto with its shining metal work looked out of place
|
||
moving slowly among the push carts and trash-heaps on the lower east
|
||
side. So did Cortlandt Van Duyckink, with his aristocratic face and
|
||
white, thin hands, as he steered carefully between the groups of
|
||
ragged, scurrying youngsters in the streets. And so did Miss Constance
|
||
Schuyler, with her dim, ascetic beauty, seated at his side.
|
||
|
||
“Oh, Cortlandt,” she breathed, “isn’t it sad that human beings have to
|
||
live in such wretchedness and poverty? And you—how noble it is of you
|
||
to think of them, to give your time and money to improve their
|
||
condition!”
|
||
|
||
Van Duyckink turned his solemn eyes upon her.
|
||
|
||
“It is little,” he said, sadly, “that I can do. The question is a large
|
||
one, and belongs to society. But even individual effort is not thrown
|
||
away. Look, Constance! On this street I have arranged to build soup
|
||
kitchens, where no one who is hungry will be turned away. And down this
|
||
other street are the old buildings that I shall cause to be torn down
|
||
and there erect others in place of those death-traps of fire and
|
||
disease.”
|
||
|
||
Down Delancey slowly crept the pale-gray auto. Away from it toddled
|
||
coveys of wondering, tangle-haired, barefooted, unwashed children. It
|
||
stopped before a crazy brick structure, foul and awry.
|
||
|
||
Van Duyckink alighted to examine at a better perspective one of the
|
||
leaning walls. Down the steps of the building came a young man who
|
||
seemed to epitomize its degradation, squalor and infelicity—a
|
||
narrow-chested, pale, unsavory young man, puffing at a cigarette.
|
||
|
||
Obeying a sudden impulse, Van Duyckink stepped out and warmly grasped
|
||
the hand of what seemed to him a living rebuke.
|
||
|
||
“I want to know you people,” he said, sincerely. “I am going to help
|
||
you as much as I can. We shall be friends.”
|
||
|
||
As the auto crept carefully away Cortlandt Van Duyckink felt an
|
||
unaccustomed glow about his heart. He was near to being a happy man.
|
||
|
||
He had shaken the hand of Ikey Snigglefritz.
|
||
|
||
|
||
|
||
|
||
THE PURPLE DRESS
|
||
|
||
|
||
We are to consider the shade known as purple. It is a color justly in
|
||
repute among the sons and daughters of man. Emperors claim it for their
|
||
especial dye. Good fellows everywhere seek to bring their noses to the
|
||
genial hue that follows the commingling of the red and blue. We say of
|
||
princes that they are born to the purple; and no doubt they are, for
|
||
the colic tinges their faces with the royal tint equally with the
|
||
snub-nosed countenance of a woodchopper’s brat. All women love it—when
|
||
it is the fashion.
|
||
|
||
And now purple is being worn. You notice it on the streets. Of course
|
||
other colors are quite stylish as well—in fact, I saw a lovely thing
|
||
the other day in olive green albatross, with a triple-lapped flounce
|
||
skirt trimmed with insert squares of silk, and a draped fichu of lace
|
||
opening over a shirred vest and double puff sleeves with a lace band
|
||
holding two gathered frills—but you see lots of purple too. Oh, yes,
|
||
you do; just take a walk down Twenty-third street any afternoon.
|
||
|
||
Therefore Maida—the girl with the big brown eyes and cinnamon-colored
|
||
hair in the Bee-Hive Store—said to Grace—the girl with the rhinestone
|
||
brooch and peppermint-pepsin flavor to her speech—“I’m going to have a
|
||
purple dress—a tailor-made purple dress—for Thanksgiving.”
|
||
|
||
“Oh, are you,” said Grace, putting away some 7½ gloves into the 6¾ box.
|
||
“Well, it’s me for red. You see more red on Fifth avenue. And the men
|
||
all seem to like it.”
|
||
|
||
“I like purple best,” said Maida. “And old Schlegel has promised to
|
||
make it for $8. It’s going to be lovely. I’m going to have a plaited
|
||
skirt and a blouse coat trimmed with a band of galloon under a white
|
||
cloth collar with two rows of—”
|
||
|
||
“Sly boots!” said Grace with an educated wink.
|
||
|
||
“—soutache braid over a surpliced white vest; and a plaited basque
|
||
and—”
|
||
|
||
“Sly boots—sly boots!” repeated Grace.
|
||
|
||
“—plaited gigot sleeves with a drawn velvet ribbon over an inside cuff.
|
||
What do you mean by saying that?”
|
||
|
||
“You think Mr. Ramsay likes purple. I heard him say yesterday he
|
||
thought some of the dark shades of red were stunning.”
|
||
|
||
“I don’t care,” said Maida. “I prefer purple, and them that don’t like
|
||
it can just take the other side of the street.”
|
||
|
||
Which suggests the thought that after all, the followers of purple may
|
||
be subject to slight delusions. Danger is near when a maiden thinks she
|
||
can wear purple regardless of complexions and opinions; and when
|
||
Emperors think their purple robes will wear forever.
|
||
|
||
Maida had saved $18 after eight months of economy; and this had bought
|
||
the goods for the purple dress and paid Schlegel $4 on the making of
|
||
it. On the day before Thanksgiving she would have just enough to pay
|
||
the remaining $4. And then for a holiday in a new dress—can earth offer
|
||
anything more enchanting?
|
||
|
||
Old Bachman, the proprietor of the Bee-Hive Store, always gave a
|
||
Thanksgiving dinner to his employees. On every one of the subsequent
|
||
364 days, excusing Sundays, he would remind them of the joys of the
|
||
past banquet and the hopes of the coming ones, thus inciting them to
|
||
increased enthusiasm in work. The dinner was given in the store on one
|
||
of the long tables in the middle of the room. They tacked wrapping
|
||
paper over the front windows; and the turkeys and other good things
|
||
were brought in the back way from the restaurant on the corner. You
|
||
will perceive that the Bee-Hive was not a fashionable department store,
|
||
with escalators and pompadours. It was almost small enough to be called
|
||
an emporium; and you could actually go in there and get waited on and
|
||
walk out again. And always at the Thanksgiving dinners Mr. Ramsay—
|
||
|
||
Oh, bother! I should have mentioned Mr. Ramsay first of all. He is more
|
||
important than purple or green, or even the red cranberry sauce.
|
||
|
||
Mr. Ramsay was the head clerk; and as far as I am concerned I am for
|
||
him. He never pinched the girls’ arms when he passed them in dark
|
||
corners of the store; and when he told them stories when business was
|
||
dull and the girls giggled and said: “Oh, pshaw!” it wasn’t G. Bernard
|
||
they meant at all. Besides being a gentleman, Mr. Ramsay was queer and
|
||
original in other ways. He was a health crank, and believed that people
|
||
should never eat anything that was good for them. He was violently
|
||
opposed to anybody being comfortable, and coming in out of snow storms,
|
||
or wearing overshoes, or taking medicine, or coddling themselves in any
|
||
way. Every one of the ten girls in the store had little
|
||
pork-chop-and-fried-onion dreams every night of becoming Mrs. Ramsay.
|
||
For, next year old Bachman was going to take him in for a partner. And
|
||
each one of them knew that if she should catch him she would knock
|
||
those cranky health notions of his sky high before the wedding cake
|
||
indigestion was over.
|
||
|
||
Mr. Ramsay was master of ceremonies at the dinners. Always they had two
|
||
Italians in to play a violin and harp and had a little dance in the
|
||
store.
|
||
|
||
And here were two dresses being conceived to charm Ramsay—one purple
|
||
and the other red. Of course, the other eight girls were going to have
|
||
dresses too, but they didn’t count. Very likely they’d wear some
|
||
shirt-waist-and-black-skirt-affairs—nothing as resplendent as purple or
|
||
red.
|
||
|
||
Grace had saved her money, too. She was going to buy her dress
|
||
ready-made. Oh, what’s the use of bothering with a tailor—when you’ve
|
||
got a figger it’s easy to get a fit—the ready-made are intended for a
|
||
perfect figger—except I have to have ’em all taken in at the waist—the
|
||
average figger is so large waisted.
|
||
|
||
The night before Thanksgiving came. Maida hurried home, keen and bright
|
||
with the thoughts of the blessed morrow. Her thoughts were of purple,
|
||
but they were white themselves—the joyous enthusiasm of the young for
|
||
the pleasures that youth must have or wither. She knew purple would
|
||
become her, and—for the thousandth time she tried to assure herself
|
||
that it was purple Mr. Ramsay said he liked and not red. She was going
|
||
home first to get the $4 wrapped in a piece of tissue paper in the
|
||
bottom drawer of her dresser, and then she was going to pay Schlegel
|
||
and take the dress home herself.
|
||
|
||
Grace lived in the same house. She occupied the hall room above
|
||
Maida’s.
|
||
|
||
At home Maida found clamor and confusion. The landlady’s tongue
|
||
clattering sourly in the halls like a churn dasher dabbing in
|
||
buttermilk. And then Grace come down to her room crying with eyes as
|
||
red as any dress.
|
||
|
||
“She says I’ve got to get out,” said Grace. “The old beast. Because I
|
||
owe her $4. She’s put my trunk in the hall and locked the door. I can’t
|
||
go anywhere else. I haven’t got a cent of money.”
|
||
|
||
“You had some yesterday,” said Maida.
|
||
|
||
“I paid it on my dress,” said Grace. “I thought she’d wait till next
|
||
week for the rent.”
|
||
|
||
Sniffle, sniffle, sob, sniffle.
|
||
|
||
Out came—out it had to come—Maida’s $4.
|
||
|
||
“You blessed darling,” cried Grace, now a rainbow instead of sunset.
|
||
“I’ll pay the mean old thing and then I’m going to try on my dress. I
|
||
think it’s heavenly. Come up and look at it. I’ll pay the money back, a
|
||
dollar a week—honest I will.”
|
||
|
||
Thanksgiving.
|
||
|
||
The dinner was to be at noon. At a quarter to twelve Grace switched
|
||
into Maida’s room. Yes, she looked charming. Red was her color. Maida
|
||
sat by the window in her old cheviot skirt and blue waist darning a
|
||
st—. Oh, doing fancy work.
|
||
|
||
“Why, goodness me! ain’t you dressed yet?” shrilled the red one. “How
|
||
does it fit in the back? Don’t you think these velvet tabs look awful
|
||
swell? Why ain’t you dressed, Maida?”
|
||
|
||
“My dress didn’t get finished in time,” said Maida. “I’m not going to
|
||
the dinner.”
|
||
|
||
“That’s too bad. Why, I’m awfully sorry, Maida. Why don’t you put on
|
||
anything and come along—it’s just the store folks, you know, and they
|
||
won’t mind.”
|
||
|
||
“I was set on my purple,” said Maida. “If I can’t have it I won’t go at
|
||
all. Don’t bother about me. Run along or you’ll be late. You look awful
|
||
nice in red.”
|
||
|
||
At her window Maida sat through the long morning and past the time of
|
||
the dinner at the store. In her mind she could hear the girls shrieking
|
||
over a pull-bone, could hear old Bachman’s roar over his own
|
||
deeply-concealed jokes, could see the diamonds of fat Mrs. Bachman, who
|
||
came to the store only on Thanksgiving days, could see Mr. Ramsay
|
||
moving about, alert, kindly, looking to the comfort of all.
|
||
|
||
At four in the afternoon, with an expressionless face and a lifeless
|
||
air she slowly made her way to Schlegel’s shop and told him she could
|
||
not pay the $4 due on the dress.
|
||
|
||
“Gott!” cried Schlegel, angrily. “For what do you look so glum? Take
|
||
him away. He is ready. Pay me some time. Haf I not seen you pass mine
|
||
shop every day in two years? If I make clothes is it that I do not know
|
||
how to read beoples because? You will pay me some time when you can.
|
||
Take him away. He is made goot; and if you look bretty in him all
|
||
right. So. Pay me when you can.”
|
||
|
||
Maida breathed a millionth part of the thanks in her heart, and hurried
|
||
away with her dress. As she left the shop a smart dash of rain struck
|
||
upon her face. She smiled and did not feel it.
|
||
|
||
Ladies who shop in carriages, you do not understand. Girls whose
|
||
wardrobes are charged to the old man’s account, you cannot begin to
|
||
comprehend—you could not understand why Maida did not feel the cold
|
||
dash of the Thanksgiving rain.
|
||
|
||
At five o’clock she went out upon the street wearing her purple dress.
|
||
The rain had increased, and it beat down upon her in a steady,
|
||
wind-blown pour. People were scurrying home and to cars with close-held
|
||
umbrellas and tight buttoned raincoats. Many of them turned their heads
|
||
to marvel at this beautiful, serene, happy-eyed girl in the purple
|
||
dress walking through the storm as though she were strolling in a
|
||
garden under summer skies.
|
||
|
||
I say you do not understand it, ladies of the full purse and varied
|
||
wardrobe. You do not know what it is to live with a perpetual longing
|
||
for pretty things—to starve eight months in order to bring a purple
|
||
dress and a holiday together. What difference if it rained, hailed,
|
||
blew, snowed, cycloned?
|
||
|
||
Maida had no umbrella nor overshoes. She had her purple dress and she
|
||
walked abroad. Let the elements do their worst. A starved heart must
|
||
have one crumb during a year. The rain ran down and dripped from her
|
||
fingers.
|
||
|
||
Some one turned a corner and blocked her way. She looked up into Mr.
|
||
Ramsay’s eyes, sparkling with admiration and interest.
|
||
|
||
“Why, Miss Maida,” said he, “you look simply magnificent in your new
|
||
dress. I was greatly disappointed not to see you at our dinner. And of
|
||
all the girls I ever knew, you show the greatest sense and
|
||
intelligence. There is nothing more healthful and invigorating than
|
||
braving the weather as you are doing. May I walk with you?”
|
||
|
||
And Maida blushed and sneezed.
|
||
|
||
|
||
|
||
|
||
THE FOREIGN POLICY OF COMPANY 99
|
||
|
||
|
||
John Byrnes, hose-cart driver of Engine Company No. 99, was afflicted
|
||
with what his comrades called Japanitis.
|
||
|
||
Byrnes had a war map spread permanently upon a table in the second
|
||
story of the engine-house, and he could explain to you at any hour of
|
||
the day or night the exact positions, conditions and intentions of both
|
||
the Russian and Japanese armies. He had little clusters of pins stuck
|
||
in the map which represented the opposing forces, and these he moved
|
||
about from day to day in conformity with the war news in the daily
|
||
papers.
|
||
|
||
Wherever the Japs won a victory John Byrnes would shift his pins, and
|
||
then he would execute a war dance of delight, and the other firemen
|
||
would hear him yell: “Go it, you blamed little, sawed-off,
|
||
huckleberry-eyed, monkey-faced hot tamales! Eat ’em up, you little
|
||
sleight-o’-hand, bow-legged bull terriers—give ’em another of them Yalu
|
||
looloos, and you’ll eat rice in St. Petersburg. Talk about your
|
||
Russians—say, wouldn’t they give you a painsky when it comes to a
|
||
scrapovitch?”
|
||
|
||
Not even on the fair island of Nippon was there a more enthusiastic
|
||
champion of the Mikado’s men. Supporters of the Russian cause did well
|
||
to keep clear of Engine-House No. 99.
|
||
|
||
Sometimes all thoughts of the Japs left John Byrnes’s head. That was
|
||
when the alarm of fire had sounded and he was strapped in his driver’s
|
||
seat on the swaying cart, guiding Erebus and Joe, the finest team in
|
||
the whole department—according to the crew of 99.
|
||
|
||
Of all the codes adopted by man for regulating his actions toward his
|
||
fellow-mortals, the greatest are these—the code of King Arthur’s
|
||
Knights of the Round Table, the Constitution of the United States and
|
||
the unwritten rules of the New York Fire Department. The Round Table
|
||
methods are no longer practicable since the invention of street cars
|
||
and breach-of-promise suits, and our Constitution is being found more
|
||
and more unconstitutional every day, so the code of our firemen must be
|
||
considered in the lead, with the Golden Rule and Jeffries’s new punch
|
||
trying for place and show.
|
||
|
||
The Constitution says that one man is as good as another; but the Fire
|
||
Department says he is better. This is a too generous theory, but the
|
||
law will not allow itself to be construed otherwise. All of which comes
|
||
perilously near to being a paradox, and commends itself to the
|
||
attention of the S. P. C. A.
|
||
|
||
One of the transatlantic liners dumped out at Ellis Island a lump of
|
||
protozoa which was expected to evolve into an American citizen. A
|
||
steward kicked him down the gangway, a doctor pounced upon his eyes
|
||
like a raven, seeking for trachoma or ophthalmia; he was hustled ashore
|
||
and ejected into the city in the name of Liberty—perhaps,
|
||
theoretically, thus inoculating against kingocracy with a drop of its
|
||
own virus. This hypodermic injection of Europeanism wandered happily
|
||
into the veins of the city with the broad grin of a pleased child. It
|
||
was not burdened with baggage, cares or ambitions. Its body was lithely
|
||
built and clothed in a sort of foreign fustian; its face was brightly
|
||
vacant, with a small, flat nose, and was mostly covered by a thick,
|
||
ragged, curling beard like the coat of a spaniel. In the pocket of the
|
||
imported Thing were a few
|
||
coins—denarii—scudi—kopecks—pfennigs—pilasters—whatever the financial
|
||
nomenclature of his unknown country may have been.
|
||
|
||
Prattling to himself, always broadly grinning, pleased by the roar and
|
||
movement of the barbarous city into which the steamship cut-rates had
|
||
shunted him, the alien strayed away from the sea, which he hated, as
|
||
far as the district covered by Engine Company No. 99. Light as a cork,
|
||
he was kept bobbing along by the human tide, the crudest atom in all
|
||
the silt of the stream that emptied into the reservoir of Liberty.
|
||
|
||
While crossing Third avenue he slowed his steps, enchanted by the
|
||
thunder of the elevated trains above him and the soothing crash of the
|
||
wheels on the cobbles. And then there was a new, delightful chord in
|
||
the uproar—the musical clanging of a gong and a great shining
|
||
juggernaut belching fire and smoke, that people were hurrying to see.
|
||
|
||
This beautiful thing, entrancing to the eye, dashed past, and the
|
||
protoplasmic immigrant stepped into the wake of it with his broad,
|
||
enraptured, uncomprehending grin. And so stepping, stepped into the
|
||
path of No. 99’s flying hose-cart, with John Byrnes gripping, with arms
|
||
of steel, the reins over the plunging backs of Erebus and Joe.
|
||
|
||
The unwritten constitutional code of the fireman has no exceptions or
|
||
amendments. It is a simple thing—as simple as the rule of three. There
|
||
was the heedless unit in the right of way; there was the hose-cart and
|
||
the iron pillar of the elevated railroad.
|
||
|
||
John Byrnes swung all his weight and muscle on the left rein. The team
|
||
and cart swerved that way and crashed like a torpedo into the pillar.
|
||
The men on the cart went flying like skittles. The driver’s strap
|
||
burst, the pillar rang with the shock, and John Byrnes fell on the car
|
||
track with a broken shoulder twenty feet away, while Erebus—beautiful,
|
||
raven-black, best-loved Erebus—lay whickering in his harness with a
|
||
broken leg.
|
||
|
||
In consideration for the feelings of Engine Company No. 99 the details
|
||
will be lightly touched. The company does not like to be reminded of
|
||
that day. There was a great crowd, and hurry calls were sent in; and
|
||
while the ambulance gong was clearing the way the men of No. 99 heard
|
||
the crack of the S. P. C. A. agent’s pistol, and turned their heads
|
||
away, not daring to look toward Erebus again.
|
||
|
||
When the firemen got back to the engine-house they found that one of
|
||
them was dragging by the collar the cause of their desolation and
|
||
grief. They set it in the middle of the floor and gathered grimly about
|
||
it. Through its whiskers the calamitous object chattered effervescently
|
||
and waved its hands.
|
||
|
||
“Sounds like a seidlitz powder,” said Mike Dowling, disgustedly, “and
|
||
it makes me sicker than one. Call that a man!—that hoss was worth a
|
||
steamer full of such two-legged animals. It’s a immigrant—that’s what
|
||
it is.”
|
||
|
||
“Look at the doctor’s chalk mark on its coat,” said Reilly, the desk
|
||
man. “It’s just landed. It must be a kind of a Dago or a Hun or one of
|
||
them Finns, I guess. That’s the kind of truck that Europe unloads onto
|
||
us.”
|
||
|
||
“Think of a thing like that getting in the way and laying John up in
|
||
hospital and spoiling the best fire team in the city,” groaned another
|
||
fireman. “It ought to be taken down to the dock and drowned.”
|
||
|
||
“Somebody go around and get Sloviski,” suggested the engine driver,
|
||
“and let’s see what nation is responsible for this conglomeration of
|
||
hair and head noises.”
|
||
|
||
Sloviski kept a delicatessen store around the corner on Third avenue,
|
||
and was reputed to be a linguist.
|
||
|
||
One of the men fetched him—a fat, cringing man, with a discursive eye
|
||
and the odors of many kinds of meats upon him.
|
||
|
||
“Take a whirl at this importation with your jaw-breakers, Sloviski,”
|
||
requested Mike Dowling. “We can’t quite figure out whether he’s from
|
||
the Hackensack bottoms or Hongkong-on-the-Ganges.”
|
||
|
||
Sloviski addressed the stranger in several dialects that ranged in
|
||
rhythm and cadence from the sounds produced by a tonsilitis gargle to
|
||
the opening of a can of tomatoes with a pair of scissors. The immigrant
|
||
replied in accents resembling the uncorking of a bottle of ginger ale.
|
||
|
||
“I have you his name,” reported Sloviski. “You shall not pronounce it.
|
||
Writing of it in paper is better.” They gave him paper, and he wrote,
|
||
“Demetre Svangvsk.”
|
||
|
||
“Looks like short hand,” said the desk man.
|
||
|
||
“He speaks some language,” continued the interpreter, wiping his
|
||
forehead, “of Austria and mixed with a little Turkish. And, den, he
|
||
have some Magyar words and a Polish or two, and many like the
|
||
Roumanian, but not without talk of one tribe in Bessarabia. I do not
|
||
him quite understand.”
|
||
|
||
“Would you call him a Dago or a Polocker, or what?” asked Mike,
|
||
frowning at the polyglot description.
|
||
|
||
“He is a”—answered Sloviski—“he is a—I dink he come from—I dink he is a
|
||
fool,” he concluded, impatient at his linguistic failure, “and if you
|
||
pleases I will go back at mine delicatessen.”
|
||
|
||
“Whatever he is, he’s a bird,” said Mike Dowling; “and you want to
|
||
watch him fly.”
|
||
|
||
Taking by the wing the alien fowl that had fluttered into the nest of
|
||
Liberty, Mike led him to the door of the engine-house and bestowed upon
|
||
him a kick hearty enough to convey the entire animus of Company 99.
|
||
Demetre Svangvsk hustled away down the sidewalk, turning once to show
|
||
his ineradicable grin to the aggrieved firemen.
|
||
|
||
In three weeks John Byrnes was back at his post from the hospital. With
|
||
great gusto he proceeded to bring his war map up to date. “My money on
|
||
the Japs every time,” he declared. “Why, look at them Russians—they’re
|
||
nothing but wolves. Wipe ’em out, I say—and the little old jiu jitsu
|
||
gang are just the cherry blossoms to do the trick, and don’t you forget
|
||
it!”
|
||
|
||
The second day after Byrnes’s reappearance came Demetre Svangvsk, the
|
||
unidentified, to the engine-house, with a broader grin than ever. He
|
||
managed to convey the idea that he wished to congratulate the hose-cart
|
||
driver on his recovery and to apologize for having caused the accident.
|
||
This he accomplished by so many extravagant gestures and explosive
|
||
noises that the company was diverted for half an hour. Then they kicked
|
||
him out again, and on the next day he came back grinning. How or where
|
||
he lived no one knew. And then John Byrnes’s nine-year-old son, Chris,
|
||
who brought him convalescent delicacies from home to eat, took a fancy
|
||
to Svangvsk, and they allowed him to loaf about the door of the
|
||
engine-house occasionally.
|
||
|
||
One afternoon the big drab automobile of the Deputy Fire Commissioner
|
||
buzzed up to the door of No. 99 and the Deputy stepped inside for an
|
||
informal inspection. The men kicked Svangvsk out a little harder than
|
||
usual and proudly escorted the Deputy around 99, in which everything
|
||
shone like my lady’s mirror.
|
||
|
||
The Deputy respected the sorrow of the company concerning the loss of
|
||
Erebus, and he had come to promise it another mate for Joe that would
|
||
do him credit. So they let Joe out of his stall and showed the Deputy
|
||
how deserving he was of the finest mate that could be in horsedom.
|
||
|
||
While they were circling around Joe confabbing, Chris climbed into the
|
||
Deputy’s auto and threw the power full on. The men heard a monster
|
||
puffing and a shriek from the lad, and sprang out too late. The big
|
||
auto shot away, luckily taking a straight course down the street. The
|
||
boy knew nothing of its machinery; he sat clutching the cushions and
|
||
howling. With the power on nothing could have stopped that auto except
|
||
a brick house, and there was nothing for Chris to gain by such a
|
||
stoppage.
|
||
|
||
Demetre Svangvsk was just coming in again with a grin for another kick
|
||
when Chris played his merry little prank. While the others sprang for
|
||
the door Demetre sprang for Joe. He glided upon the horse’s bare back
|
||
like a snake and shouted something at him like the crack of a dozen
|
||
whips. One of the firemen afterward swore that Joe answered him back in
|
||
the same language. Ten seconds after the auto started the big horse was
|
||
eating up the asphalt behind it like a strip of macaroni.
|
||
|
||
Some people two blocks and a half away saw the rescue. They said that
|
||
the auto was nothing but a drab noise with a black speck in the middle
|
||
of it for Chris, when a big bay horse with a lizard lying on its back
|
||
cantered up alongside of it, and the lizard reached over and picked the
|
||
black speck out of the noise.
|
||
|
||
Only fifteen minutes after Svangvsk’s last kicking at the hands—or
|
||
rather the feet—of Engine Company No. 99 he rode Joe back through the
|
||
door with the boy safe, but acutely conscious of the licking he was
|
||
going to receive.
|
||
|
||
Svangvsk slipped to the floor, leaned his head against Joe’s and made a
|
||
noise like a clucking hen. Joe nodded and whistled loudly through his
|
||
nostrils, putting to shame the knowledge of Sloviski, of the
|
||
delicatessen.
|
||
|
||
John Byrnes walked up to Svangvsk, who grinned, expecting to be kicked.
|
||
Byrnes gripped the outlander so strongly by the hand that Demetre
|
||
grinned anyhow, conceiving it to be a new form of punishment.
|
||
|
||
“The heathen rides like a Cossack,” remarked a fireman who had seen a
|
||
Wild West show—“they’re the greatest riders in the world.”
|
||
|
||
The word seemed to electrify Svangvsk. He grinned wider than ever.
|
||
|
||
“Yas—yas—me Cossack,” he spluttered, striking his chest.
|
||
|
||
“Cossack!” repeated John Byrnes, thoughtfully, “ain’t that a kind of a
|
||
Russian?”
|
||
|
||
“They’re one of the Russian tribes, sure,” said the desk man, who read
|
||
books between fire alarms.
|
||
|
||
Just then Alderman Foley, who was on his way home and did not know of
|
||
the runaway, stopped at the door of the engine-house and called to
|
||
Byrnes:
|
||
|
||
“Hello there, Jimmy, me boy—how’s the war coming along? Japs still got
|
||
the bear on the trot, have they?”
|
||
|
||
“Oh, I don’t know,” said John Byrnes, argumentatively, “them Japs
|
||
haven’t got any walkover. You wait till Kuropatkin gets a good whack at
|
||
’em and they won’t be knee-high to a puddle-ducksky.”
|
||
|
||
|
||
|
||
|
||
THE LOST BLEND
|
||
|
||
|
||
Since the bar has been blessed by the clergy, and cocktails open the
|
||
dinners of the elect, one may speak of the saloon. Teetotalers need not
|
||
listen, if they choose; there is always the slot restaurant, where a
|
||
dime dropped into the cold bouillon aperture will bring forth a dry
|
||
Martini.
|
||
|
||
Con Lantry worked on the sober side of the bar in Kenealy’s café. You
|
||
and I stood, one-legged like geese, on the other side and went into
|
||
voluntary liquidation with our week’s wages. Opposite danced Con,
|
||
clean, temperate, clear-headed, polite, white-jacketed, punctual,
|
||
trustworthy, young, responsible, and took our money.
|
||
|
||
The saloon (whether blessed or cursed) stood in one of those little
|
||
“places” which are parallelograms instead of streets, and inhabited by
|
||
laundries, decayed Knickerbocker families and Bohemians who have
|
||
nothing to do with either.
|
||
|
||
Over the café lived Kenealy and his family. His daughter Katherine had
|
||
eyes of dark Irish—but why should you be told? Be content with your
|
||
Geraldine or your Eliza Ann. For Con dreamed of her; and when she
|
||
called softly at the foot of the back stairs for the pitcher of beer
|
||
for dinner, his heart went up and down like a milk punch in the shaker.
|
||
Orderly and fit are the rules of Romance; and if you hurl the last
|
||
shilling of your fortune upon the bar for whiskey, the bartender shall
|
||
take it, and marry his boss’s daughter, and good will grow out of it.
|
||
|
||
But not so Con. For in the presence of woman he was tongue-tied and
|
||
scarlet. He who would quell with his eye the sonorous youth whom the
|
||
claret punch made loquacious, or smash with lemon squeezer the
|
||
obstreperous, or hurl gutterward the cantankerous without a wrinkle
|
||
coming to his white lawn tie, when he stood before woman he was
|
||
voiceless, incoherent, stuttering, buried beneath a hot avalanche of
|
||
bashfulness and misery. What then was he before Katherine? A trembler,
|
||
with no word to say for himself, a stone without blarney, the dumbest
|
||
lover that ever babbled of the weather in the presence of his divinity.
|
||
|
||
There came to Kenealy’s two sunburned men, Riley and McQuirk. They had
|
||
conference with Kenealy; and then they took possession of a back room
|
||
which they filled with bottles and siphons and jugs and druggist’s
|
||
measuring glasses. All the appurtenances and liquids of a saloon were
|
||
there, but they dispensed no drinks. All day long the two sweltered in
|
||
there pouring and mixing unknown brews and decoctions from the liquors
|
||
in their store. Riley had the education, and he figured on reams of
|
||
paper, reducing gallons to ounces and quarts to fluid drams. McQuirk, a
|
||
morose man with a red eye, dashed each unsuccessful completed mixture
|
||
into the waste pipes with curses gentle, husky and deep. They labored
|
||
heavily and untiringly to achieve some mysterious solution like two
|
||
alchemists striving to resolve gold from the elements.
|
||
|
||
Into this back room one evening when his watch was done sauntered Con.
|
||
His professional curiosity had been stirred by these occult bartenders
|
||
at whose bar none drank, and who daily drew upon Kenealy’s store of
|
||
liquors to follow their consuming and fruitless experiments.
|
||
|
||
Down the back stairs came Katherine with her smile like sunrise on
|
||
Gweebarra Bay.
|
||
|
||
“Good evening, Mr. Lantry,” says she. “And what is the news to-day, if
|
||
you please?”
|
||
|
||
“It looks like r-rain,” stammered the shy one, backing to the wall.
|
||
|
||
“It couldn’t do better,” said Katherine. “I’m thinking there’s nothing
|
||
the worse off for a little water.” In the back room Riley and McQuirk
|
||
toiled like bearded witches over their strange compounds. From fifty
|
||
bottles they drew liquids carefully measured after Riley’s figures, and
|
||
shook the whole together in a great glass vessel. Then McQuirk would
|
||
dash it out, with gloomy profanity, and they would begin again.
|
||
|
||
“Sit down,” said Riley to Con, “and I’ll tell you.
|
||
|
||
“Last summer me and Tim concludes that an American bar in this nation
|
||
of Nicaragua would pay. There was a town on the coast where there’s
|
||
nothing to eat but quinine and nothing to drink but rum. The natives
|
||
and foreigners lay down with chills and get up with fevers; and a good
|
||
mixed drink is nature’s remedy for all such tropical inconveniences.
|
||
|
||
“So we lays in a fine stock of wet goods in New York, and bar fixtures
|
||
and glassware, and we sails for that Santa Palma town on a lime
|
||
steamer. On the way me and Tim sees flying fish and plays seven-up with
|
||
the captain and steward, and already begins to feel like the high-ball
|
||
kings of the tropics of Capricorn.
|
||
|
||
“When we gets in five hours of the country that we was going to
|
||
introduce to long drinks and short change the captain calls us over to
|
||
the starboard binnacle and recollects a few things.
|
||
|
||
“‘I forgot to tell you, boys,’ says he, ‘that Nicaragua slapped an
|
||
import duty of 48 per cent. ad valorem on all bottled goods last month.
|
||
The President took a bottle of Cincinnati hair tonic by mistake for
|
||
tabasco sauce, and he’s getting even. Barrelled goods is free.’
|
||
|
||
“‘Sorry you didn’t mention it sooner,’ says we. And we bought two
|
||
forty-two gallon casks from the captain, and opened every bottle we had
|
||
and dumped the stuff all together in the casks. That 48 per cent. would
|
||
have ruined us; so we took the chances on making that $1,200 cocktail
|
||
rather than throw the stuff away.
|
||
|
||
“Well, when we landed we tapped one of the barrels. The mixture was
|
||
something heartrending. It was the color of a plate of Bowery pea soup,
|
||
and it tasted like one of those coffee substitutes your aunt makes you
|
||
take for the heart trouble you get by picking losers. We gave a nigger
|
||
four fingers of it to try it, and he lay under a cocoanut tree three
|
||
days beating the sand with his heels and refused to sign a testimonial.
|
||
|
||
“But the other barrel! Say, bartender, did you ever put on a straw hat
|
||
with a yellow band around it and go up in a balloon with a pretty girl
|
||
with $8,000,000 in your pocket all at the same time? That’s what thirty
|
||
drops of it would make you feel like. With two fingers of it inside you
|
||
you would bury your face in your hands and cry because there wasn’t
|
||
anything more worth while around for you to lick than little Jim
|
||
Jeffries. Yes, sir, the stuff in that second barrel was distilled
|
||
elixir of battle, money and high life. It was the color of gold and as
|
||
clear as glass, and it shone after dark like the sunshine was still in
|
||
it. A thousand years from now you’ll get a drink like that across the
|
||
bar.
|
||
|
||
“Well, we started up business with that one line of drinks, and it was
|
||
enough. The piebald gentry of that country stuck to it like a hive of
|
||
bees. If that barrel had lasted that country would have become the
|
||
greatest on earth. When we opened up of mornings we had a line of
|
||
Generals and Colonels and ex-Presidents and revolutionists a block long
|
||
waiting to be served. We started in at 50 cents silver a drink. The
|
||
last ten gallons went easy at $5 a gulp. It was wonderful stuff. It
|
||
gave a man courage and ambition and nerve to do anything; at the same
|
||
time he didn’t care whether his money was tainted or fresh from the Ice
|
||
Trust. When that barrel was half gone Nicaragua had repudiated the
|
||
National debt, removed the duty on cigarettes and was about to declare
|
||
war on the United States and England.
|
||
|
||
“’Twas by accident we discovered this king of drinks, and ’twill be by
|
||
good luck if we strike it again. For ten months we’ve been trying.
|
||
Small lots at a time, we’ve mixed barrels of all the harmful
|
||
ingredients known to the profession of drinking. Ye could have stocked
|
||
ten bars with the whiskies, brandies, cordials, bitters, gins and wines
|
||
me and Tim have wasted. A glorious drink like that to be denied to the
|
||
world! ’Tis a sorrow and a loss of money. The United States as a nation
|
||
would welcome a drink of that sort, and pay for it.”
|
||
|
||
All the while McQuirk had been carefully measuring and pouring together
|
||
small quantities of various spirits, as Riley called them, from his
|
||
latest pencilled prescription. The completed mixture was of a vile,
|
||
mottled chocolate color. McQuirk tasted it, and hurled it, with
|
||
appropriate epithets, into the waste sink.
|
||
|
||
“’Tis a strange story, even if true,” said Con. “I’ll be going now
|
||
along to my supper.”
|
||
|
||
“Take a drink,” said Riley. “We’ve all kinds except the lost blend.”
|
||
|
||
“I never drink,” said Con, “anything stronger than water. I am just
|
||
after meeting Miss Katherine by the stairs. She said a true word.
|
||
‘There’s not anything,’ says she, ‘but is better off for a little
|
||
water.’”
|
||
|
||
When Con had left them Riley almost felled McQuirk by a blow on the
|
||
back.
|
||
|
||
“Did ye hear that?” he shouted. “Two fools are we. The six dozen
|
||
bottles of ’pollinaris we had on the ship—ye opened them yourself—which
|
||
barrel did ye pour them in—which barrel, ye mudhead?”
|
||
|
||
“I mind,” said McQuirk, slowly, “’twas in the second barrel we opened.
|
||
I mind the blue piece of paper pasted on the side of it.”
|
||
|
||
“We’ve got it now,” cried Riley. “’Twas that we lacked. ’Tis the water
|
||
that does the trick. Everything else we had right. Hurry, man, and get
|
||
two bottles of ’pollinaris from the bar, while I figure out the
|
||
proportionments with me pencil.”
|
||
|
||
An hour later Con strolled down the sidewalk toward Kenealy’s café.
|
||
Thus faithful employees haunt, during their recreation hours, the
|
||
vicinity where they labor, drawn by some mysterious attraction.
|
||
|
||
A police patrol wagon stood at the side door. Three able cops were half
|
||
carrying, half hustling Riley and McQuirk up its rear steps. The eyes
|
||
and faces of each bore the bruises and cuts of sanguinary and assiduous
|
||
conflict. Yet they whooped with strange joy, and directed upon the
|
||
police the feeble remnants of their pugnacious madness.
|
||
|
||
“Began fighting each other in the back room,” explained Kenealy to Con.
|
||
“And singing! That was worse. Smashed everything pretty much up. But
|
||
they’re good men. They’ll pay for everything. Trying to invent some new
|
||
kind of cocktail, they was. I’ll see they come out all right in the
|
||
morning.”
|
||
|
||
Con sauntered into the back room to view the battlefield. As he went
|
||
through the hall Katherine was just coming down the stairs.
|
||
|
||
“Good evening again, Mr. Lantry,” said she. “And is there no news from
|
||
the weather yet?”
|
||
|
||
“Still threatens r-rain,” said Con, slipping past with red in his
|
||
smooth, pale cheek.
|
||
|
||
Riley and McQuirk had indeed waged a great and friendly battle. Broken
|
||
bottles and glasses were everywhere. The room was full of alcohol
|
||
fumes; the floor was variegated with spirituous puddles.
|
||
|
||
On the table stood a 32-ounce glass graduated measure. In the bottom of
|
||
it were two tablespoonfuls of liquid—a bright golden liquid that seemed
|
||
to hold the sunshine a prisoner in its auriferous depths.
|
||
|
||
Con smelled it. He tasted it. He drank it.
|
||
|
||
As he returned through the hall Katherine was just going up the stairs.
|
||
|
||
“No news yet, Mr. Lantry?” she asked with her teasing laugh.
|
||
|
||
Con lifted her clear from the floor and held her there.
|
||
|
||
“The news is,” he said, “that we’re to be married.”
|
||
|
||
“Put me down, sir!” she cried indignantly, “or I will— Oh, Con, where,
|
||
oh, wherever did you get the nerve to say it?”
|
||
|
||
|
||
|
||
|
||
A HARLEM TRAGEDY
|
||
|
||
|
||
Harlem.
|
||
|
||
Mrs. Fink had dropped into Mrs. Cassidy’s flat one flight below.
|
||
|
||
“Ain’t it a beaut?” said Mrs. Cassidy.
|
||
|
||
She turned her face proudly for her friend Mrs. Fink to see. One eye
|
||
was nearly closed, with a great, greenish-purple bruise around it. Her
|
||
lip was cut and bleeding a little and there were red finger-marks on
|
||
each side of her neck.
|
||
|
||
“My husband wouldn’t ever think of doing that to me,” said Mrs. Fink,
|
||
concealing her envy.
|
||
|
||
“I wouldn’t have a man,” declared Mrs. Cassidy, “that didn’t beat me up
|
||
at least once a week. Shows he thinks something of you. Say! but that
|
||
last dose Jack gave me wasn’t no homeopathic one. I can see stars yet.
|
||
But he’ll be the sweetest man in town for the rest of the week to make
|
||
up for it. This eye is good for theater tickets and a silk shirt waist
|
||
at the very least.”
|
||
|
||
“I should hope,” said Mrs. Fink, assuming complacency, “that Mr. Fink
|
||
is too much of a gentleman ever to raise his hand against me.”
|
||
|
||
“Oh, go on, Maggie!” said Mrs. Cassidy, laughing and applying witch
|
||
hazel, “you’re only jealous. Your old man is too frappéd and slow to
|
||
ever give you a punch. He just sits down and practises physical culture
|
||
with a newspaper when he comes home—now ain’t that the truth?”
|
||
|
||
“Mr. Fink certainly peruses of the papers when he comes home,”
|
||
acknowledged Mrs. Fink, with a toss of her head; “but he certainly
|
||
don’t ever make no Steve O’Donnell out of me just to amuse
|
||
himself—that’s a sure thing.”
|
||
|
||
Mrs. Cassidy laughed the contented laugh of the guarded and happy
|
||
matron. With the air of Cornelia exhibiting her jewels, she drew down
|
||
the collar of her kimono and revealed another treasured bruise,
|
||
maroon-colored, edged with olive and orange—a bruise now nearly well,
|
||
but still to memory dear.
|
||
|
||
Mrs. Fink capitulated. The formal light in her eye softened to envious
|
||
admiration. She and Mrs. Cassidy had been chums in the downtown
|
||
paper-box factory before they had married, one year before. Now she and
|
||
her man occupied the flat above Mame and her man. Therefore she could
|
||
not put on airs with Mame.
|
||
|
||
“Don’t it hurt when he soaks you?” asked Mrs. Fink, curiously.
|
||
|
||
“Hurt!”—Mrs. Cassidy gave a soprano scream of delight. “Well, say—did
|
||
you ever have a brick house fall on you?—well, that’s just the way it
|
||
feels—just like when they’re digging you out of the ruins. Jack’s got a
|
||
left that spells two matinees and a new pair of Oxfords—and his
|
||
right!—well, it takes a trip to Coney and six pairs of openwork, silk
|
||
lisle threads to make that good.”
|
||
|
||
“But what does he beat you for?” inquired Mrs. Fink, with wide-open
|
||
eyes.
|
||
|
||
“Silly!” said Mrs. Cassidy, indulgently. “Why, because he’s full. It’s
|
||
generally on Saturday nights.”
|
||
|
||
“But what cause do you give him?” persisted the seeker after knowledge.
|
||
|
||
“Why, didn’t I marry him? Jack comes in tanked up; and I’m here, ain’t
|
||
I? Who else has he got a right to beat? I’d just like to catch him once
|
||
beating anybody else! Sometimes it’s because supper ain’t ready; and
|
||
sometimes it’s because it is. Jack ain’t particular about causes. He
|
||
just lushes till he remembers he’s married, and then he makes for home
|
||
and does me up. Saturday nights I just move the furniture with sharp
|
||
corners out of the way, so I won’t cut my head when he gets his work
|
||
in. He’s got a left swing that jars you! Sometimes I take the count in
|
||
the first round; but when I feel like having a good time during the
|
||
week or want some new rags I come up again for more punishment. That’s
|
||
what I done last night. Jack knows I’ve been wanting a black silk waist
|
||
for a month, and I didn’t think just one black eye would bring it. Tell
|
||
you what, Mag, I’ll bet you the ice cream he brings it to-night.”
|
||
|
||
Mrs. Fink was thinking deeply.
|
||
|
||
“My Mart,” she said, “never hit me a lick in his life. It’s just like
|
||
you said, Mame; he comes in grouchy and ain’t got a word to say. He
|
||
never takes me out anywhere. He’s a chair-warmer at home for fair. He
|
||
buys me things, but he looks so glum about it that I never appreciate
|
||
’em.”
|
||
|
||
Mrs. Cassidy slipped an arm around her chum. “You poor thing!” she
|
||
said. “But everybody can’t have a husband like Jack. Marriage wouldn’t
|
||
be no failure if they was all like him. These discontented wives you
|
||
hear about—what they need is a man to come home and kick their slats in
|
||
once a week, and then make it up in kisses, and chocolate creams.
|
||
That’d give ’em some interest in life. What I want is a masterful man
|
||
that slugs you when he’s jagged and hugs you when he ain’t jagged.
|
||
Preserve me from the man that ain’t got the sand to do neither!”
|
||
|
||
Mrs. Fink sighed.
|
||
|
||
The hallways were suddenly filled with sound. The door flew open at the
|
||
kick of Mr. Cassidy. His arms were occupied with bundles. Mame flew and
|
||
hung about his neck. Her sound eye sparkled with the love light that
|
||
shines in the eye of the Maori maid when she recovers consciousness in
|
||
the hut of the wooer who has stunned and dragged her there.
|
||
|
||
“Hello, old girl!” shouted Mr. Cassidy. He shed his bundles and lifted
|
||
her off her feet in a mighty hug. “I got tickets for Barnum & Bailey’s,
|
||
and if you’ll bust the string of one of them bundles I guess you’ll
|
||
find that silk waist—why, good evening, Mrs. Fink—I didn’t see you at
|
||
first. How’s old Mart coming along?”
|
||
|
||
“He’s very well, Mr. Cassidy—thanks,” said Mrs. Fink. “I must be going
|
||
along up now. Mart’ll be home for supper soon. I’ll bring you down that
|
||
pattern you wanted to-morrow, Mame.”
|
||
|
||
Mrs. Fink went up to her flat and had a little cry. It was a
|
||
meaningless cry, the kind of cry that only a woman knows about, a cry
|
||
from no particular cause, altogether an absurd cry; the most transient
|
||
and the most hopeless cry in the repertory of grief. Why had Martin
|
||
never thrashed her? He was as big and strong as Jack Cassidy. Did he
|
||
not care for her at all? He never quarrelled; he came home and lounged
|
||
about, silent, glum, idle. He was a fairly good provider, but he
|
||
ignored the spices of life.
|
||
|
||
Mrs. Fink’s ship of dreams was becalmed. Her captain ranged between
|
||
plum duff and his hammock. If only he would shiver his timbers or stamp
|
||
his foot on the quarter-deck now and then! And she had thought to sail
|
||
so merrily, touching at ports in the Delectable Isles! But now, to vary
|
||
the figure, she was ready to throw up the sponge, tired out, without a
|
||
scratch to show for all those tame rounds with her sparring partner.
|
||
For one moment she almost hated Mame—Mame, with her cuts and bruises,
|
||
her salve of presents and kisses; her stormy voyage with her fighting,
|
||
brutal, loving mate.
|
||
|
||
Mr. Fink came home at 7. He was permeated with the curse of
|
||
domesticity. Beyond the portals of his cozy home he cared not to roam,
|
||
to roam. He was the man who had caught the street car, the anaconda
|
||
that had swallowed its prey, the tree that lay as it had fallen.
|
||
|
||
“Like the supper, Mart?” asked Mrs. Fink, who had striven over it.
|
||
|
||
“M-m-m-yep,” grunted Mr. Fink.
|
||
|
||
After supper he gathered his newspapers to read. He sat in his stocking
|
||
feet.
|
||
|
||
Arise, some new Dante, and sing me the befitting corner of perdition
|
||
for the man who sitteth in the house in his stockinged feet. Sisters of
|
||
Patience who by reason of ties or duty have endured it in silk, yarn,
|
||
cotton, lisle thread or woollen—does not the new canto belong?
|
||
|
||
The next day was Labor Day. The occupations of Mr. Cassidy and Mr. Fink
|
||
ceased for one passage of the sun. Labor, triumphant, would parade and
|
||
otherwise disport itself.
|
||
|
||
Mrs. Fink took Mrs. Cassidy’s pattern down early. Mame had on her new
|
||
silk waist. Even her damaged eye managed to emit a holiday gleam. Jack
|
||
was fruitfully penitent, and there was a hilarious scheme for the day
|
||
afoot, with parks and picnics and Pilsener in it.
|
||
|
||
A rising, indignant jealousy seized Mrs. Fink as she returned to her
|
||
flat above. Oh, happy Mame, with her bruises and her quick-following
|
||
balm! But was Mame to have a monopoly of happiness? Surely Martin Fink
|
||
was as good a man as Jack Cassidy. Was his wife to go always
|
||
unbelabored and uncaressed? A sudden, brilliant, breathless idea came
|
||
to Mrs. Fink. She would show Mame that there were husbands as able to
|
||
use their fists and perhaps to be as tender afterward as any Jack.
|
||
|
||
The holiday promised to be a nominal one with the Finks. Mrs. Fink had
|
||
the stationary washtubs in the kitchen filled with a two weeks’ wash
|
||
that had been soaking overnight. Mr. Fink sat in his stockinged feet
|
||
reading a newspaper. Thus Labor Day presaged to speed.
|
||
|
||
Jealousy surged high in Mrs. Fink’s heart, and higher still surged an
|
||
audacious resolve. If her man would not strike her—if he would not so
|
||
far prove his manhood, his prerogative and his interest in conjugal
|
||
affairs, he must be prompted to his duty.
|
||
|
||
Mr. Fink lit his pipe and peacefully rubbed an ankle with a stockinged
|
||
toe. He reposed in the state of matrimony like a lump of unblended suet
|
||
in a pudding. This was his level Elysium—to sit at ease vicariously
|
||
girdling the world in print amid the wifely splashing of suds and the
|
||
agreeable smells of breakfast dishes departed and dinner ones to come.
|
||
Many ideas were far from his mind; but the furthest one was the thought
|
||
of beating his wife.
|
||
|
||
Mrs. Fink turned on the hot water and set the washboards in the suds.
|
||
Up from the flat below came the gay laugh of Mrs. Cassidy. It sounded
|
||
like a taunt, a flaunting of her own happiness in the face of the
|
||
unslugged bride above. Now was Mrs. Fink’s time.
|
||
|
||
Suddenly she turned like a fury upon the man reading.
|
||
|
||
“You lazy loafer!” she cried, “must I work my arms off washing and
|
||
toiling for the ugly likes of you? Are you a man or are you a kitchen
|
||
hound?”
|
||
|
||
Mr. Fink dropped his paper, motionless from surprise. She feared that
|
||
he would not strike—that the provocation had been insufficient. She
|
||
leaped at him and struck him fiercely in the face with her clenched
|
||
hand. In that instant she felt a thrill of love for him such as she had
|
||
not felt for many a day. Rise up, Martin Fink, and come into your
|
||
kingdom! Oh, she must feel the weight of his hand now—just to show that
|
||
he cared—just to show that he cared!
|
||
|
||
Mr. Fink sprang to his feet—Maggie caught him again on the jaw with a
|
||
wide swing of her other hand. She closed her eyes in that fearful,
|
||
blissful moment before his blow should come—she whispered his name to
|
||
herself—she leaned to the expected shock, hungry for it.
|
||
|
||
In the flat below Mr. Cassidy, with a shamed and contrite face was
|
||
powdering Mame’s eye in preparation for their junket. From the flat
|
||
above came the sound of a woman’s voice, high-raised, a bumping, a
|
||
stumbling and a shuffling, a chair overturned—unmistakable sounds of
|
||
domestic conflict.
|
||
|
||
“Mart and Mag scrapping?” postulated Mr. Cassidy. “Didn’t know they
|
||
ever indulged. Shall I trot up and see if they need a sponge holder?”
|
||
|
||
One of Mrs. Cassidy’s eyes sparkled like a diamond. The other twinkled
|
||
at least like paste.
|
||
|
||
“Oh, oh,” she said, softly and without apparent meaning, in the
|
||
feminine ejaculatory manner. “I wonder if—wonder if! Wait, Jack, till I
|
||
go up and see.”
|
||
|
||
Up the stairs she sped. As her foot struck the hallway above out from
|
||
the kitchen door of her flat wildly flounced Mrs. Fink.
|
||
|
||
“Oh, Maggie,” cried Mrs. Cassidy, in a delighted whisper; “did he? Oh,
|
||
did he?”
|
||
|
||
Mrs. Fink ran and laid her face upon her chum’s shoulder and sobbed
|
||
hopelessly.
|
||
|
||
Mrs. Cassidy took Maggie’s face between her hands and lifted it gently.
|
||
Tear-stained it was, flushing and paling, but its velvety,
|
||
pink-and-white, becomingly freckled surface was unscratched, unbruised,
|
||
unmarred by the recreant fist of Mr. Fink.
|
||
|
||
“Tell me, Maggie,” pleaded Mame, “or I’ll go in there and find out.
|
||
What was it? Did he hurt you—what did he do?”
|
||
|
||
Mrs. Fink’s face went down again despairingly on the bosom of her
|
||
friend.
|
||
|
||
“For God’s sake don’t open that door, Mame,” she sobbed. “And don’t
|
||
ever tell nobody—keep it under your hat. He—he never touched me,
|
||
and—he’s—oh, Gawd—he’s washin’ the clothes—he’s washin’ the clothes!”
|
||
|
||
|
||
|
||
|
||
“THE GUILTY PARTY”
|
||
|
||
|
||
A red-haired, unshaven, untidy man sat in a rocking chair by a window.
|
||
He had just lighted a pipe, and was puffing blue clouds with great
|
||
satisfaction. He had removed his shoes and donned a pair of blue, faded
|
||
carpet-slippers. With the morbid thirst of the confirmed daily news
|
||
drinker, he awkwardly folded back the pages of an evening paper,
|
||
eagerly gulping down the strong, black headlines, to be followed as a
|
||
chaser by the milder details of the smaller type.
|
||
|
||
In an adjoining room a woman was cooking supper. Odors from strong
|
||
bacon and boiling coffee contended against the cut-plug fumes from the
|
||
vespertine pipe.
|
||
|
||
Outside was one of those crowded streets of the east side, in which, as
|
||
twilight falls, Satan sets up his recruiting office. A mighty host of
|
||
children danced and ran and played in the street. Some in rags, some in
|
||
clean white and beribboned, some wild and restless as young hawks, some
|
||
gentle-faced and shrinking, some shrieking rude and sinful words, some
|
||
listening, awed, but soon, grown familiar, to embrace—here were the
|
||
children playing in the corridors of the House of Sin. Above the
|
||
playground forever hovered a great bird. The bird was known to
|
||
humorists as the stork. But the people of Chrystie street were better
|
||
ornithologists. They called it a vulture.
|
||
|
||
A little girl of twelve came up timidly to the man reading and resting
|
||
by the window, and said:
|
||
|
||
“Papa, won’t you play a game of checkers with me if you aren’t too
|
||
tired?”
|
||
|
||
The red-haired, unshaven, untidy man sitting shoeless by the window
|
||
answered, with a frown.
|
||
|
||
“Checkers. No, I won’t. Can’t a man who works hard all day have a
|
||
little rest when he comes home? Why don’t you go out and play with the
|
||
other kids on the sidewalk?”
|
||
|
||
The woman who was cooking came to the door.
|
||
|
||
“John,” she said, “I don’t like for Lizzie to play in the street. They
|
||
learn too much there that ain’t good for ’em. She’s been in the house
|
||
all day long. It seems that you might give up a little of your time to
|
||
amuse her when you come home.”
|
||
|
||
“Let her go out and play like the rest of ’em if she wants to be
|
||
amused,” said the red-haired, unshaven, untidy man, “and don’t bother
|
||
me.”
|
||
|
||
|
||
“You’re on,” said Kid Mullaly. “Fifty dollars to $25 I take Annie to
|
||
the dance. Put up.”
|
||
|
||
The Kid’s black eyes were snapping with the fire of the baited and
|
||
challenged. He drew out his “roll” and slapped five tens upon the bar.
|
||
The three or four young fellows who were thus “taken” more slowly
|
||
produced their stake. The bartender, ex-officio stakeholder, took the
|
||
money, laboriously wrapped it, recorded the bet with an inch-long
|
||
pencil and stuffed the whole into a corner of the cash register.
|
||
|
||
“And, oh, what’ll be done to you’ll be a plenty,” said a bettor, with
|
||
anticipatory glee.
|
||
|
||
“That’s my lookout,” said the “Kid,” sternly. “Fill ’em up all around,
|
||
Mike.”
|
||
|
||
After the round Burke, the “Kid’s” sponge, sponge-holder, pal, Mentor
|
||
and Grand Vizier, drew him out to the bootblack stand at the saloon
|
||
corner where all the official and important matters of the Small Hours
|
||
Social Club were settled. As Tony polished the light tan shoes of the
|
||
club’s President and Secretary for the fifth time that day, Burke spake
|
||
words of wisdom to his chief.
|
||
|
||
“Cut that blond out, ‘Kid,’” was his advice, “or there’ll be trouble.
|
||
What do you want to throw down that girl of yours for? You’ll never
|
||
find one that’ll freeze to you like Liz has. She’s worth a hallful of
|
||
Annies.”
|
||
|
||
“I’m no Annie admirer!” said the “Kid,” dropping a cigarette ash on his
|
||
polished toe, and wiping it off on Tony’s shoulder. “But I want to
|
||
teach Liz a lesson. She thinks I belong to her. She’s been bragging
|
||
that I daren’t speak to another girl. Liz is all right—in some ways.
|
||
She’s drinking a little too much lately. And she uses language that a
|
||
lady oughtn’t.”
|
||
|
||
“You’re engaged, ain’t you?” asked Burke.
|
||
|
||
“Sure. We’ll get married next year, maybe.”
|
||
|
||
“I saw you make her drink her first glass of beer,” said Burke. “That
|
||
was two years ago, when she used to come down to the corner of Chrystie
|
||
bare-headed to meet you after supper. She was a quiet sort of a kid
|
||
then, and couldn’t speak without blushing.”
|
||
|
||
“She’s a little spitfire, sometimes, now,” said the Kid. “I hate
|
||
jealousy. That’s why I’m going to the dance with Annie. It’ll teach her
|
||
some sense.”
|
||
|
||
“Well, you better look a little out,” were Burke’s last words. “If Liz
|
||
was my girl and I was to sneak out to a dance coupled up with an Annie,
|
||
I’d want a suit of chain armor on under my gladsome rags, all right.”
|
||
|
||
Through the land of the stork-vulture wandered Liz. Her black eyes
|
||
searched the passing crowds fierily but vaguely. Now and then she
|
||
hummed bars of foolish little songs. Between times she set her small,
|
||
white teeth together, and spake crisp words that the east side has
|
||
added to language.
|
||
|
||
Liz’s skirt was green silk. Her waist was a large brown-and-pink plaid,
|
||
well-fitting and not without style. She wore a cluster ring of huge
|
||
imitation rubies, and a locket that banged her knees at the bottom of a
|
||
silver chain. Her shoes were run down over twisted high heels, and were
|
||
strangers to polish. Her hat would scarcely have passed into a flour
|
||
barrel.
|
||
|
||
The “Family Entrance” of the Blue Jay Café received her. At a table she
|
||
sat, and punched the button with the air of milady ringing for her
|
||
carriage. The waiter came with his large-chinned, low-voiced manner of
|
||
respectful familiarity. Liz smoothed her silken skirt with a satisfied
|
||
wriggle. She made the most of it. Here she could order and be waited
|
||
upon. It was all that her world offered her of the prerogative of
|
||
woman.
|
||
|
||
“Whiskey, Tommy,” she said as her sisters further uptown murmur,
|
||
“Champagne, James.”
|
||
|
||
“Sure, Miss Lizzie. What’ll the chaser be?”
|
||
|
||
“Seltzer. And say, Tommy, has the Kid been around to-day?”
|
||
|
||
“Why, no, Miss Lizzie, I haven’t saw him to-day.”
|
||
|
||
Fluently came the “Miss Lizzie,” for the Kid was known to be one who
|
||
required rigid upholdment of the dignity of his fiancee.
|
||
|
||
“I’m lookin’ for ’m,” said Liz, after the chaser had sputtered under
|
||
her nose. “It’s got to me that he says he’ll take Annie Karlson to the
|
||
dance. Let him. The pink-eyed white rat! I’m lookin’ for ’m. You know
|
||
me, Tommy. Two years me and the Kid’s been engaged. Look at that ring.
|
||
Five hundred, he said it cost. Let him take her to the dance. What’ll I
|
||
do? I’ll cut his heart out. Another whiskey, Tommy.”
|
||
|
||
“I wouldn’t listen to no such reports, Miss Lizzie,” said the waiter
|
||
smoothly, from the narrow opening above his chin. “Kid Mullaly’s not
|
||
the guy to throw a lady like you down. Seltzer on the side?”
|
||
|
||
“Two years,” repeated Liz, softening a little to sentiment under the
|
||
magic of the distiller’s art. “I always used to play out on the street
|
||
of evenin’s ’cause there was nothin’ doin’ for me at home. For a long
|
||
time I just sat on doorsteps and looked at the lights and the people
|
||
goin’ by. And then the Kid came along one evenin’ and sized me up, and
|
||
I was mashed on the spot for fair. The first drink he made me take I
|
||
cried all night at home, and got a lickin’ for makin’ a noise. And
|
||
now—say, Tommy, you ever see this Annie Karlson? If it wasn’t for
|
||
peroxide the chloroform limit would have put her out long ago. Oh, I’m
|
||
lookin’ for ’m. You tell the Kid if he comes in. Me? I’ll cut his heart
|
||
out. Leave it to me. Another whiskey, Tommy.”
|
||
|
||
A little unsteadily, but with watchful and brilliant eyes, Liz walked
|
||
up the avenue. On the doorstep of a brick tenement a curly-haired child
|
||
sat, puzzling over the convolutions of a tangled string. Liz flopped
|
||
down beside her, with a crooked, shifting smile on her flushed face.
|
||
But her eyes had grown clear and artless of a sudden.
|
||
|
||
“Let me show you how to make a cat’s-cradle, kid,” she said, tucking
|
||
her green silk skirt under her rusty shoes.
|
||
|
||
And while they sat there the lights were being turned on for the dance
|
||
in the hall of the Small Hours Social Club. It was the bi-monthly
|
||
dance, a dress affair in which the members took great pride and
|
||
bestirred themselves huskily to further and adorn.
|
||
|
||
At 9 o’clock the President, Kid Mullaly, paced upon the floor with a
|
||
lady on his arm. As the Loreley’s was her hair golden. Her “yes” was
|
||
softened to a “yah,” but its quality of assent was patent to the most
|
||
Milesian ears. She stepped upon her own train and blushed, and—she
|
||
smiled into the eyes of Kid Mullaly.
|
||
|
||
And then, as the two stood in the middle of the waxed floor, the thing
|
||
happened to prevent which many lamps are burning nightly in many
|
||
studies and libraries.
|
||
|
||
Out from the circle of spectators in the hall leaped Fate in a green
|
||
silk skirt, under the _nom de guerre_ of “Liz.” Her eyes were hard and
|
||
blacker than jet. She did not scream or waver. Most unwomanly, she
|
||
cried out one oath—the Kid’s own favorite oath—and in his own deep
|
||
voice; and then while the Small Hours Social Club went frantically to
|
||
pieces, she made good her boast to Tommy, the waiter—made good as far
|
||
as the length of her knife blade and the strength of her arm permitted.
|
||
|
||
And next came the primal instinct of self-preservation—or was it
|
||
self-annihilation, the instinct that society has grafted on the natural
|
||
branch?
|
||
|
||
Liz ran out and down the street swift and true as a woodcock flying
|
||
through a grove of saplings at dusk.
|
||
|
||
And then followed the big city’s biggest shame, its most ancient and
|
||
rotten surviving canker, its pollution and disgrace, its blight and
|
||
perversion, its forever infamy and guilt, fostered, unreproved and
|
||
cherished, handed down from a long-ago century of the basest
|
||
barbarity—the Hue and Cry. Nowhere but in the big cities does it
|
||
survive, and here most of all, where the ultimate perfection of
|
||
culture, citizenship and alleged superiority joins, bawling, in the
|
||
chase.
|
||
|
||
They pursued—a shrieking mob of fathers, mothers, lovers and
|
||
maidens—howling, yelling, calling, whistling, crying for blood. Well
|
||
may the wolf in the big city stand outside the door. Well may his
|
||
heart, the gentler, falter at the siege.
|
||
|
||
Knowing her way, and hungry for her surcease, she darted down the
|
||
familiar ways until at last her feet struck the dull solidity of the
|
||
rotting pier. And then it was but a few more panting steps—and good
|
||
mother East River took Liz to her bosom, soothed her muddily but
|
||
quickly, and settled in five minutes the problem that keeps lights
|
||
burning o’ nights in thousands of pastorates and colleges.
|
||
|
||
|
||
It’s mighty funny what kind of dreams one has sometimes. Poets call
|
||
them visions, but a vision is only a dream in blank verse. I dreamed
|
||
the rest of this story.
|
||
|
||
I thought I was in the next world. I don’t know how I got there; I
|
||
suppose I had been riding on the Ninth avenue elevated or taking patent
|
||
medicine or trying to pull Jim Jeffries’s nose, or doing some such
|
||
little injudicious stunt. But, anyhow, there I was, and there was a
|
||
great crowd of us outside the courtroom where the judgments were going
|
||
on. And every now and then a very beautiful and imposing court-officer
|
||
angel would come outside the door and call another case.
|
||
|
||
While I was considering my own worldly sins and wondering whether there
|
||
would be any use of my trying to prove an alibi by claiming that I
|
||
lived in New Jersey, the bailiff angel came to the door and sang out:
|
||
|
||
“Case No. 99,852,743.”
|
||
|
||
Up stepped a plain-clothes man—there were lots of ’em there, dressed
|
||
exactly like preachers and hustling us spirits around just like cops do
|
||
on earth—and by the arm he dragged—whom, do you think? Why, Liz!
|
||
|
||
The court officer took her inside and closed the door. I went up to Mr.
|
||
Fly-Cop and inquired about the case.
|
||
|
||
“A very sad one,” says he, laying the points of his manicured fingers
|
||
together. “An utterly incorrigible girl. I am Special Terrestrial
|
||
Officer the Reverend Jones. The case was assigned to me. The girl
|
||
murdered her fiance and committed suicide. She had no defense. My
|
||
report to the court relates the facts in detail, all of which are
|
||
substantiated by reliable witnesses. The wages of sin is death. Praise
|
||
the Lord.”
|
||
|
||
The court officer opened the door and stepped out.
|
||
|
||
“Poor girl,” said Special Terrestrial Officer the Reverend Jones, with
|
||
a tear in his eye. “It was one of the saddest cases that I ever met
|
||
with. Of course she was”—
|
||
|
||
“Discharged,” said the court officer. “Come here, Jonesy. First thing
|
||
you know you’ll be switched to the pot-pie squad. How would you like to
|
||
be on the missionary force in the South Sea Islands—hey? Now, you quit
|
||
making these false arrests, or you’ll be transferred—see? The guilty
|
||
party you’ve got to look for in this case is a red-haired, unshaven,
|
||
untidy man, sitting by the window reading, in his stocking feet, while
|
||
his children play in the streets. Get a move on you.”
|
||
|
||
Now, wasn’t that a silly dream?
|
||
|
||
|
||
|
||
|
||
ACCORDING TO THEIR LIGHTS
|
||
|
||
|
||
Somewhere in the depths of the big city, where the unquiet dregs are
|
||
forever being shaken together, young Murray and the Captain had met and
|
||
become friends. Both were at the lowest ebb possible to their fortunes;
|
||
both had fallen from at least an intermediate Heaven of respectability
|
||
and importance, and both were typical products of the monstrous and
|
||
peculiar social curriculum of their overweening and bumptious civic
|
||
alma mater.
|
||
|
||
The captain was no longer a captain. One of those sudden moral
|
||
cataclysms that sometimes sweep the city had hurled him from a high and
|
||
profitable position in the Police Department, ripping off his badge and
|
||
buttons and washing into the hands of his lawyers the solid pieces of
|
||
real estate that his frugality had enabled him to accumulate. The
|
||
passing of the flood left him low and dry. One month after his
|
||
dishabilitation a saloon-keeper plucked him by the neck from his
|
||
free-lunch counter as a tabby plucks a strange kitten from her nest,
|
||
and cast him asphaltward. This seems low enough. But after that he
|
||
acquired a pair of cloth top, button Congress gaiters and wrote
|
||
complaining letters to the newspapers. And then he fought the attendant
|
||
at the Municipal Lodging House who tried to give him a bath. When
|
||
Murray first saw him he was holding the hand of an Italian woman who
|
||
sold apples and garlic on Essex street, and quoting the words of a song
|
||
book ballad.
|
||
|
||
Murray’s fall had been more Luciferian, if less spectacular. All the
|
||
pretty, tiny little kickshaws of Gotham had once been his. The
|
||
megaphone man roars out at you to observe the house of his uncle on a
|
||
grand and revered avenue. But there had been an awful row about
|
||
something, and the prince had been escorted to the door by the butler,
|
||
which, in said avenue, is equivalent to the impact of the avuncular
|
||
shoe. A weak Prince Hal, without inheritance or sword, he drifted
|
||
downward to meet his humorless Falstaff, and to pick the crusts of the
|
||
streets with him.
|
||
|
||
One evening they sat on a bench in a little downtown park. The great
|
||
bulk of the Captain, which starvation seemed to increase—drawing irony
|
||
instead of pity to his petitions for aid—was heaped against the arm of
|
||
the bench in a shapeless mass. His red face, spotted by tufts of
|
||
vermilion, week-old whiskers and topped by a sagging white straw hat,
|
||
looked, in the gloom, like one of those structures that you may observe
|
||
in a dark Third avenue window, challenging your imagination to say
|
||
whether it be something recent in the way of ladies’ hats or a
|
||
strawberry shortcake. A tight-drawn belt—last relic of his official
|
||
spruceness—made a deep furrow in his circumference. The Captain’s shoes
|
||
were buttonless. In a smothered bass he cursed his star of ill-luck.
|
||
|
||
Murray, at his side, was shrunk into his dingy and ragged suit of blue
|
||
serge. His hat was pulled low; he sat quiet and a little indistinct,
|
||
like some ghost that had been dispossessed.
|
||
|
||
“I’m hungry,” growled the Captain—“by the top sirloin of the Bull of
|
||
Bashan, I’m starving to death. Right now I could eat a Bowery
|
||
restaurant clear through to the stovepipe in the alley. Can’t you think
|
||
of nothing, Murray? You sit there with your shoulders scrunched up,
|
||
giving an imitation of Reginald Vanderbilt driving his coach—what good
|
||
are them airs doing you now? Think of some place we can get something
|
||
to chew.”
|
||
|
||
“You forget, my dear Captain,” said Murray, without moving, “that our
|
||
last attempt at dining was at my suggestion.”
|
||
|
||
“You bet it was,” groaned the Captain, “you bet your life it was. Have
|
||
you got any more like that to make—hey?”
|
||
|
||
“I admit we failed,” sighed Murray. “I was sure Malone would be good
|
||
for one more free lunch after the way he talked baseball with me the
|
||
last time I spent a nickel in his establishment.”
|
||
|
||
“I had this hand,” said the Captain, extending the unfortunate
|
||
member—“I had this hand on the drumstick of a turkey and two sardine
|
||
sandwiches when them waiters grabbed us.”
|
||
|
||
“I was within two inches of the olives,” said Murray. “Stuffed olives.
|
||
I haven’t tasted one in a year.”
|
||
|
||
“What’ll we do?” grumbled the Captain. “We can’t starve.”
|
||
|
||
“Can’t we?” said Murray quietly. “I’m glad to hear that. I was afraid
|
||
we could.”
|
||
|
||
“You wait here,” said the Captain, rising heavily and puffily to his
|
||
feet. “I’m going to try to make one more turn. You stay here till I
|
||
come back, Murray. I won’t be over half an hour. If I turn the trick
|
||
I’ll come back flush.”
|
||
|
||
He made some elephantine attempts at smartening his appearance. He gave
|
||
his fiery mustache a heavenward twist; he dragged into sight a pair of
|
||
black-edged cuffs, deepened the crease in his middle by tightening his
|
||
belt another hole, and set off, jaunty as a zoo rhinoceros, across the
|
||
south end of the park.
|
||
|
||
When he was out of sight Murray also left the park, hurrying swiftly
|
||
eastward. He stopped at a building whose steps were flanked by two
|
||
green lights.
|
||
|
||
“A police captain named Maroney,” he said to the desk sergeant, “was
|
||
dismissed from the force after being tried under charges three years
|
||
ago. I believe sentence was suspended. Is this man wanted now by the
|
||
police?”
|
||
|
||
“Why are ye asking?” inquired the sergeant, with a frown.
|
||
|
||
“I thought there might be a reward standing,” explained Murray, easily.
|
||
“I know the man well. He seems to be keeping himself pretty shady at
|
||
present. I could lay my hands on him at any time. If there should be a
|
||
reward—”
|
||
|
||
“There’s no reward,” interrupted the sergeant, shortly. “The man’s not
|
||
wanted. And neither are ye. So, get out. Ye are frindly with um, and ye
|
||
would be selling um. Out with ye quick, or I’ll give ye a start.”
|
||
|
||
Murray gazed at the officer with serene and virtuous dignity.
|
||
|
||
“I would be simply doing my duty as a citizen and gentleman,” he said,
|
||
severely, “if I could assist the law in laying hold of one of its
|
||
offenders.”
|
||
|
||
Murray hurried back to the bench in the park. He folded his arms and
|
||
shrank within his clothes to his ghost-like presentment.
|
||
|
||
Ten minutes afterward the Captain arrived at the rendezvous, windy and
|
||
thunderous as a dog-day in Kansas. His collar had been torn away; his
|
||
straw hat had been twisted and battered; his shirt with ox-blood
|
||
stripes split to the waist. And from head to knee he was drenched with
|
||
some vile and ignoble greasy fluid that loudly proclaimed to the nose
|
||
its component leaven of garlic and kitchen stuff.
|
||
|
||
“For Heaven’s sake, Captain,” sniffed Murray, “I doubt that I would
|
||
have waited for you if I had suspected you were so desperate as to
|
||
resort to swill barrels. I”—
|
||
|
||
“Cheese it,” said the Captain, harshly. “I’m not hogging it yet. It’s
|
||
all on the outside. I went around on Essex and proposed marriage to
|
||
that Catrina that’s got the fruit shop there. Now, that business could
|
||
be built up. She’s a peach as far as a Dago could be. I thought I had
|
||
that senoreena mashed sure last week. But look what she done to me! I
|
||
guess I got too fresh. Well there’s another scheme queered.”
|
||
|
||
“You don’t mean to say,” said Murray, with infinite contempt, “that you
|
||
would have married that woman to help yourself out of your disgraceful
|
||
troubles!”
|
||
|
||
“Me?” said the Captain. “I’d marry the Empress of China for one bowl of
|
||
chop suey. I’d commit murder for a plate of beef stew. I’d steal a
|
||
wafer from a waif. I’d be a Mormon for a bowl of chowder.”
|
||
|
||
“I think,” said Murray, resting his head on his hands, “that I would
|
||
play Judas for the price of one drink of whiskey. For thirty pieces of
|
||
silver I would”—
|
||
|
||
“Oh, come now!” exclaimed the Captain in dismay. “You wouldn’t do that,
|
||
Murray! I always thought that Kike’s squeal on his boss was about the
|
||
lowest-down play that ever happened. A man that gives his friend away
|
||
is worse than a pirate.”
|
||
|
||
Through the park stepped a large man scanning the benches where the
|
||
electric light fell.
|
||
|
||
“Is that you, Mac?” he said, halting before the derelicts. His diamond
|
||
stickpin dazzled. His diamond-studded fob chain assisted. He was big
|
||
and smooth and well fed. “Yes, I see it’s you,” he continued. “They
|
||
told me at Mike’s that I might find you over here. Let me see you a few
|
||
minutes, Mac.”
|
||
|
||
The Captain lifted himself with a grunt of alacrity. If Charlie
|
||
Finnegan had come down in the bottomless pit to seek him there must be
|
||
something doing. Charlie guided him by an arm into a patch of shadow.
|
||
|
||
“You know, Mac,” he said, “they’re trying Inspector Pickering on graft
|
||
charges.”
|
||
|
||
“He was my inspector,” said the Captain.
|
||
|
||
“O’Shea wants the job,” went on Finnegan. “He must have it. It’s for
|
||
the good of the organization. Pickering must go under. Your testimony
|
||
will do it. He was your ‘man higher up’ when you were on the force. His
|
||
share of the boodle passed through your hands. You must go on the stand
|
||
and testify against him.”
|
||
|
||
“He was”—began the Captain.
|
||
|
||
“Wait a minute,” said Finnegan. A bundle of yellowish stuff came out of
|
||
his inside pocket. “Five hundred dollars in it for you. Two-fifty on
|
||
the spot, and the rest”—
|
||
|
||
“He was my friend, I say,” finished the Captain. “I’ll see you and the
|
||
gang, and the city, and the party in the flames of Hades before I’ll
|
||
take the stand against Dan Pickering. I’m down and out; but I’m no
|
||
traitor to a man that’s been my friend.” The Captain’s voice rose and
|
||
boomed like a split trombone. “Get out of this park, Charlie Finnegan,
|
||
where us thieves and tramps and boozers are your betters; and take your
|
||
dirty money with you.”
|
||
|
||
Finnegan drifted out by another walk. The Captain returned to his seat.
|
||
|
||
“I couldn’t avoid hearing,” said Murray, drearily. “I think you are the
|
||
biggest fool I ever saw.”
|
||
|
||
“What would you have done?” asked the Captain.
|
||
|
||
“Nailed Pickering to the cross,” said Murray.
|
||
|
||
“Sonny,” said the Captain, huskily and without heat. “You and me are
|
||
different. New York is divided into two parts—above Forty-second
|
||
street, and below Fourteenth. You come from the other part. We both act
|
||
according to our lights.”
|
||
|
||
An illuminated clock above the trees retailed the information that it
|
||
lacked the half hour of twelve. Both men rose from the bench and moved
|
||
away together as if seized by the same idea. They left the park, struck
|
||
through a narrow cross street, and came into Broadway, at this hour as
|
||
dark, echoing and de-peopled as a byway in Pompeii.
|
||
|
||
Northward they turned; and a policeman who glanced at their unkempt and
|
||
slinking figures withheld the attention and suspicion that he would
|
||
have granted them at any other hour and place. For on every street in
|
||
that part of the city other unkempt and slinking figures were shuffling
|
||
and hurrying toward a converging point—a point that is marked by no
|
||
monument save that groove on the pavement worn by tens of thousands of
|
||
waiting feet.
|
||
|
||
At Ninth street a tall man wearing an opera hat alighted from a
|
||
Broadway car and turned his face westward. But he saw Murray, pounced
|
||
upon him and dragged him under a street light. The Captain lumbered
|
||
slowly to the corner, like a wounded bear, and waited, growling.
|
||
|
||
“Jerry!” cried the hatted one. “How fortunate! I was to begin a search
|
||
for you to-morrow. The old gentleman has capitulated. You’re to be
|
||
restored to favor. Congratulate you. Come to the office in the morning
|
||
and get all the money you want. I’ve liberal instructions in that
|
||
respect.”
|
||
|
||
“And the little matrimonial arrangement?” said Murray, with his head
|
||
turned sidewise.
|
||
|
||
“Why—er—well, of course, your uncle understands—expects that the
|
||
engagement between you and Miss Vanderhurst shall be”—
|
||
|
||
“Good night,” said Murray, moving away.
|
||
|
||
“You madman!” cried the other, catching his arm. “Would you give up two
|
||
millions on account of”—
|
||
|
||
“Did you ever see her nose, old man?” asked Murray, solemnly.
|
||
|
||
“But, listen to reason, Jerry. Miss Vanderhurst is an heiress, and”—
|
||
|
||
“Did you ever see it?”
|
||
|
||
“Yes, I admit that her nose isn’t”—
|
||
|
||
“Good night!” said Murray. “My friend is waiting for me. I am quoting
|
||
him when I authorize you to report that there is ‘nothing doing.’ Good
|
||
night.”
|
||
|
||
A wriggling line of waiting men extended from a door in Tenth street
|
||
far up Broadway, on the outer edge of the pavement. The Captain and
|
||
Murray fell in at the tail of the quivering millipede.
|
||
|
||
“Twenty feet longer than it was last night,” said Murray, looking up at
|
||
his measuring angle of Grace Church.
|
||
|
||
“Half an hour,” growled the Captain, “before we get our punk.”
|
||
|
||
The city clocks began to strike 12; the Bread Line moved forward
|
||
slowly, its leathern feet sliding on the stones with the sound of a
|
||
hissing serpent, as they who had lived according to their lights closed
|
||
up in the rear.
|
||
|
||
|
||
|
||
|
||
A MIDSUMMER KNIGHT’S DREAM
|
||
|
||
|
||
“_The knights are dead;
|
||
Their swords are rust.
|
||
Except a few who have to hust-
|
||
Le all the time
|
||
To raise the dust._”
|
||
|
||
|
||
Dear Reader: It was summertime. The sun glared down upon the city with
|
||
pitiless ferocity. It is difficult for the sun to be ferocious and
|
||
exhibit compunction simultaneously. The heat was—oh, bother
|
||
thermometers!—who cares for standard measures, anyhow? It was so hot
|
||
that—
|
||
|
||
The roof gardens put on so many extra waiters that you could hope to
|
||
get your gin fizz now—as soon as all the other people got theirs. The
|
||
hospitals were putting in extra cots for bystanders. For when little,
|
||
woolly dogs loll their tongues out and say “woof, woof!” at the fleas
|
||
that bite ’em, and nervous old black bombazine ladies screech “Mad
|
||
dog!” and policemen begin to shoot, somebody is going to get hurt. The
|
||
man from Pompton, N.J., who always wears an overcoat in July, had
|
||
turned up in a Broadway hotel drinking hot Scotches and enjoying his
|
||
annual ray from the calcium. Philanthropists were petitioning the
|
||
Legislature to pass a bill requiring builders to make tenement
|
||
fire-escapes more commodious, so that families might die all together
|
||
of the heat instead of one or two at a time. So many men were telling
|
||
you about the number of baths they took each day that you wondered how
|
||
they got along after the real lessee of the apartment came back to town
|
||
and thanked ’em for taking such good care of it. The young man who
|
||
called loudly for cold beef and beer in the restaurant, protesting that
|
||
roast pullet and Burgundy was really too heavy for such weather,
|
||
blushed when he met your eye, for you had heard him all winter calling,
|
||
in modest tones, for the same ascetic viands. Soup, pocketbooks, shirt
|
||
waists, actors and baseball excuses grew thinner. Yes, it was
|
||
summertime.
|
||
|
||
A man stood at Thirty-fourth street waiting for a downtown car. A man
|
||
of forty, gray-haired, pink-faced, keen, nervous, plainly dressed, with
|
||
a harassed look around the eyes. He wiped his forehead and laughed
|
||
loudly when a fat man with an outing look stopped and spoke with him.
|
||
|
||
“No, siree,” he shouted with defiance and scorn. “None of your old
|
||
mosquito-haunted swamps and skyscraper mountains without elevators for
|
||
me. When I want to get away from hot weather I know how to do it. New
|
||
York, sir, is the finest summer resort in the country. Keep in the
|
||
shade and watch your diet, and don’t get too far away from an electric
|
||
fan. Talk about your Adirondacks and your Catskills! There’s more solid
|
||
comfort in the borough of Manhattan than in all the rest of the country
|
||
together. No, siree! No tramping up perpendicular cliffs and being
|
||
waked up at 4 in the morning by a million flies, and eating canned
|
||
goods straight from the city for me. Little old New York will take a
|
||
few select summer boarders; comforts and conveniences of homes—that’s
|
||
the ad. that I answer every time.”
|
||
|
||
“You need a vacation,” said the fat man, looking closely at the other.
|
||
“You haven’t been away from town in years. Better come with me for two
|
||
weeks, anyhow. The trout in the Beaverkill are jumping at anything now
|
||
that looks like a fly. Harding writes me that he landed a three-pound
|
||
brown last week.”
|
||
|
||
“Nonsense!” cried the other man. “Go ahead, if you like, and boggle
|
||
around in rubber boots wearing yourself out trying to catch fish. When
|
||
I want one I go to a cool restaurant and order it. I laugh at you
|
||
fellows whenever I think of you hustling around in the heat in the
|
||
country thinking you are having a good time. For me Father
|
||
Knickerbocker’s little improved farm with the big shady lane running
|
||
through the middle of it.”
|
||
|
||
The fat man sighed over his friend and went his way. The man who
|
||
thought New York was the greatest summer resort in the country boarded
|
||
a car and went buzzing down to his office. On the way he threw away his
|
||
newspaper and looked up at a ragged patch of sky above the housetops.
|
||
|
||
“Three pounds!” he muttered, absently. “And Harding isn’t a liar. I
|
||
believe, if I could—but it’s impossible—they’ve got to have another
|
||
month—another month at least.”
|
||
|
||
In his office the upholder of urban midsummer joys dived, headforemost,
|
||
into the swimming pool of business. Adkins, his clerk, came and added a
|
||
spray of letters, memoranda and telegrams.
|
||
|
||
At 5 o’clock in the afternoon the busy man leaned back in his office
|
||
chair, put his feet on the desk and mused aloud:
|
||
|
||
“I wonder what kind of bait Harding used.”
|
||
|
||
|
||
She was all in white that day; and thereby Compton lost a bet to
|
||
Gaines. Compton had wagered she would wear light blue, for she knew
|
||
that was his favorite color, and Compton was a millionaire’s son, and
|
||
that almost laid him open to the charge of betting on a sure thing. But
|
||
white was her choice, and Gaines held up his head with twenty-five’s
|
||
lordly air.
|
||
|
||
The little summer hotel in the mountains had a lively crowd that year.
|
||
There were two or three young college men and a couple of artists and a
|
||
young naval officer on one side. On the other there were enough
|
||
beauties among the young ladies for the correspondent of a society
|
||
paper to refer to them as a “bevy.” But the moon among the stars was
|
||
Mary Sewell. Each one of the young men greatly desired to arrange
|
||
matters so that he could pay her millinery bills, and fix the furnace,
|
||
and have her do away with the “Sewell” part of her name forever. Those
|
||
who could stay only a week or two went away hinting at pistols and
|
||
blighted hearts. But Compton stayed like the mountains themselves, for
|
||
he could afford it. And Gaines stayed because he was a fighter and
|
||
wasn’t afraid of millionaire’s sons, and—well, he adored the country.
|
||
|
||
“What do you think, Miss Mary?” he said once. “I knew a duffer in New
|
||
York who claimed to like it in the summer time. Said you could keep
|
||
cooler there than you could in the woods. Wasn’t he an awful silly? I
|
||
don’t think I could breathe on Broadway after the 1st of June.”
|
||
|
||
“Mamma was thinking of going back week after next,” said Miss Mary with
|
||
a lovely frown.
|
||
|
||
“But when you think of it,” said Gaines, “there are lots of jolly
|
||
places in town in the summer. The roof gardens, you know, and
|
||
the—er—the roof gardens.”
|
||
|
||
Deepest blue was the lake that day—the day when they had the mock
|
||
tournament, and the men rode clumsy farm horses around in a glade in
|
||
the woods and caught curtain rings on the end of a lance. Such fun!
|
||
|
||
Cool and dry as the finest wine came the breath of the shadowed forest.
|
||
The valley below was a vision seen through an opal haze. A white mist
|
||
from hidden falls blurred the green of a hand’s breadth of tree tops
|
||
half-way down the gorge. Youth made merry hand-in-hand with young
|
||
summer. Nothing on Broadway like that.
|
||
|
||
The villagers gathered to see the city folks pursue their mad drollery.
|
||
The woods rang with the laughter of pixies and naiads and sprites.
|
||
Gaines caught most of the rings. His was the privilege to crown the
|
||
queen of the tournament. He was the conquering knight—as far as the
|
||
rings went. On his arm he wore a white scarf. Compton wore light blue.
|
||
She had declared her preference for blue, but she wore white that day.
|
||
|
||
Gaines looked about for the queen to crown her. He heard her merry
|
||
laugh, as if from the clouds. She had slipped away and climbed Chimney
|
||
Rock, a little granite bluff, and stood there, a white fairy among the
|
||
laurels, fifty feet above their heads.
|
||
|
||
Instantly he and Compton accepted the implied challenge. The bluff was
|
||
easily mounted at the rear, but the front offered small hold to hand or
|
||
foot. Each man quickly selected his route and began to climb. A
|
||
crevice, a bush, a slight projection, a vine or tree branch—all of
|
||
these were aids that counted in the race. It was all foolery—there was
|
||
no stake; but there was youth in it, cross reader, and light hearts,
|
||
and something else that Miss Clay writes so charmingly about.
|
||
|
||
Gaines gave a great tug at the root of a laurel and pulled himself to
|
||
Miss Mary’s feet. On his arm he carried the wreath of roses; and while
|
||
the villagers and summer boarders screamed and applauded below he
|
||
placed it on the queen’s brow.
|
||
|
||
“You are a gallant knight,” said Miss Mary.
|
||
|
||
“If I could be your true knight always,” began Gaines, but Miss Mary
|
||
laughed him dumb, for Compton scrambled over the edge of the rock one
|
||
minute behind time.
|
||
|
||
What a twilight that was when they drove back to the hotel! The opal of
|
||
the valley turned slowly to purple, the dark woods framed the lake as a
|
||
mirror, the tonic air stirred the very soul in one. The first pale
|
||
stars came out over the mountain tops where yet a faint glow of—
|
||
|
||
|
||
“I beg your pardon, Mr. Gaines,” said Adkins.
|
||
|
||
The man who believed New York to be the finest summer resort in the
|
||
world opened his eyes and kicked over the mucilage bottle on his desk.
|
||
|
||
“I—I believe I was asleep,” he said.
|
||
|
||
“It’s the heat,” said Adkins. “It’s something awful in the city these”—
|
||
|
||
“Nonsense!” said the other. “The city beats the country ten to one in
|
||
summer. Fools go out tramping in muddy brooks and wear themselves out
|
||
trying to catch little fish as long as your finger. Stay in town and
|
||
keep comfortable—that’s my idea.”
|
||
|
||
“Some letters just came,” said Adkins. “I thought you might like to
|
||
glance at them before you go.”
|
||
|
||
Let us look over his shoulder and read just a few lines of one of them:
|
||
|
||
My Dear, Dear Husband: Just received your letter ordering us to stay
|
||
another month. … Rita’s cough is almost gone. … Johnny has simply gone
|
||
wild like a little Indian … Will be the making of both children … work
|
||
so hard, and I know that your business can hardly afford to keep us
|
||
here so long … best man that ever … you always pretend that you like
|
||
the city in summer … trout fishing that you used to be so fond of … and
|
||
all to keep us well and happy … come to you if it were not doing the
|
||
babies so much good. … I stood last evening on Chimney Rock in exactly
|
||
the same spot where I was when you put the wreath of roses on my head …
|
||
through all the world … when you said you would be my true knight …
|
||
fifteen years ago, dear, just think! … have always been that to me …
|
||
ever and ever,
|
||
|
||
|
||
Mary.
|
||
|
||
|
||
The man who said he thought New York the finest summer resort in the
|
||
country dropped into a café on his way home and had a glass of beer
|
||
under an electric fan.
|
||
|
||
“Wonder what kind of a fly old Harding used,” he said to himself.
|
||
|
||
|
||
|
||
|
||
THE LAST LEAF
|
||
|
||
|
||
In a little district west of Washington Square the streets have run
|
||
crazy and broken themselves into small strips called “places.” These
|
||
“places” make strange angles and curves. One street crosses itself a
|
||
time or two. An artist once discovered a valuable possibility in this
|
||
street. Suppose a collector with a bill for paints, paper and canvas
|
||
should, in traversing this route, suddenly meet himself coming back,
|
||
without a cent having been paid on account!
|
||
|
||
So, to quaint old Greenwich Village the art people soon came prowling,
|
||
hunting for north windows and eighteenth-century gables and Dutch
|
||
attics and low rents. Then they imported some pewter mugs and a chafing
|
||
dish or two from Sixth avenue, and became a “colony.”
|
||
|
||
At the top of a squatty, three-story brick Sue and Johnsy had their
|
||
studio. “Johnsy” was familiar for Joanna. One was from Maine; the other
|
||
from California. They had met at the _table d’hôte_ of an Eighth street
|
||
“Delmonico’s,” and found their tastes in art, chicory salad and bishop
|
||
sleeves so congenial that the joint studio resulted.
|
||
|
||
That was in May. In November a cold, unseen stranger, whom the doctors
|
||
called Pneumonia, stalked about the colony, touching one here and there
|
||
with his icy fingers. Over on the east side this ravager strode boldly,
|
||
smiting his victims by scores, but his feet trod slowly through the
|
||
maze of the narrow and moss-grown “places.”
|
||
|
||
Mr. Pneumonia was not what you would call a chivalric old gentleman. A
|
||
mite of a little woman with blood thinned by California zephyrs was
|
||
hardly fair game for the red-fisted, short-breathed old duffer. But
|
||
Johnsy he smote; and she lay, scarcely moving, on her painted iron
|
||
bedstead, looking through the small Dutch window-panes at the blank
|
||
side of the next brick house.
|
||
|
||
One morning the busy doctor invited Sue into the hallway with a shaggy,
|
||
gray eyebrow.
|
||
|
||
“She has one chance in—let us say, ten,” he said, as he shook down the
|
||
mercury in his clinical thermometer. “And that chance is for her to
|
||
want to live. This way people have of lining-up on the side of the
|
||
undertaker makes the entire pharmacopeia look silly. Your little lady
|
||
has made up her mind that she’s not going to get well. Has she anything
|
||
on her mind?”
|
||
|
||
“She—she wanted to paint the Bay of Naples some day,” said Sue.
|
||
|
||
“Paint?—bosh! Has she anything on her mind worth thinking about twice—a
|
||
man, for instance?”
|
||
|
||
“A man?” said Sue, with a jew’s-harp twang in her voice. “Is a man
|
||
worth—but, no, doctor; there is nothing of the kind.”
|
||
|
||
“Well, it is the weakness, then,” said the doctor. “I will do all that
|
||
science, so far as it may filter through my efforts, can accomplish.
|
||
But whenever my patient begins to count the carriages in her funeral
|
||
procession I subtract 50 per cent. from the curative power of
|
||
medicines. If you will get her to ask one question about the new winter
|
||
styles in cloak sleeves I will promise you a one-in-five chance for
|
||
her, instead of one in ten.”
|
||
|
||
After the doctor had gone Sue went into the workroom and cried a
|
||
Japanese napkin to a pulp. Then she swaggered into Johnsy’s room with
|
||
her drawing board, whistling ragtime.
|
||
|
||
Johnsy lay, scarcely making a ripple under the bedclothes, with her
|
||
face toward the window. Sue stopped whistling, thinking she was asleep.
|
||
|
||
She arranged her board and began a pen-and-ink drawing to illustrate a
|
||
magazine story. Young artists must pave their way to Art by drawing
|
||
pictures for magazine stories that young authors write to pave their
|
||
way to Literature.
|
||
|
||
As Sue was sketching a pair of elegant horseshow riding trousers and a
|
||
monocle on the figure of the hero, an Idaho cowboy, she heard a low
|
||
sound, several times repeated. She went quickly to the bedside.
|
||
|
||
Johnsy’s eyes were open wide. She was looking out the window and
|
||
counting—counting backward.
|
||
|
||
“Twelve,” she said, and a little later “eleven;” and then “ten,” and
|
||
“nine;” and then “eight” and “seven,” almost together.
|
||
|
||
Sue looked solicitously out the window. What was there to count? There
|
||
was only a bare, dreary yard to be seen, and the blank side of the
|
||
brick house twenty feet away. An old, old ivy vine, gnarled and decayed
|
||
at the roots, climbed half way up the brick wall. The cold breath of
|
||
autumn had stricken its leaves from the vine until its skeleton
|
||
branches clung, almost bare, to the crumbling bricks.
|
||
|
||
“What is it, dear?” asked Sue.
|
||
|
||
“Six,” said Johnsy, in almost a whisper. “They’re falling faster now.
|
||
Three days ago there were almost a hundred. It made my head ache to
|
||
count them. But now it’s easy. There goes another one. There are only
|
||
five left now.”
|
||
|
||
“Five what, dear. Tell your Sudie.”
|
||
|
||
“Leaves. On the ivy vine. When the last one falls I must go, too. I’ve
|
||
known that for three days. Didn’t the doctor tell you?”
|
||
|
||
“Oh, I never heard of such nonsense,” complained Sue, with magnificent
|
||
scorn. “What have old ivy leaves to do with your getting well? And you
|
||
used to love that vine so, you naughty girl. Don’t be a goosey. Why,
|
||
the doctor told me this morning that your chances for getting well real
|
||
soon were—let’s see exactly what he said—he said the chances were ten
|
||
to one! Why, that’s almost as good a chance as we have in New York when
|
||
we ride on the street cars or walk past a new building. Try to take
|
||
some broth now, and let Sudie go back to her drawing, so she can sell
|
||
the editor man with it, and buy port wine for her sick child, and pork
|
||
chops for her greedy self.”
|
||
|
||
“You needn’t get any more wine,” said Johnsy, keeping her eyes fixed
|
||
out the window. “There goes another. No, I don’t want any broth. That
|
||
leaves just four. I want to see the last one fall before it gets dark.
|
||
Then I’ll go, too.”
|
||
|
||
“Johnsy, dear,” said Sue, bending over her, “will you promise me to
|
||
keep your eyes closed, and not look out the window until I am done
|
||
working? I must hand those drawings in by to-morrow. I need the light,
|
||
or I would draw the shade down.”
|
||
|
||
“Couldn’t you draw in the other room?” asked Johnsy, coldly.
|
||
|
||
“I’d rather be here by you,” said Sue. “Besides I don’t want you to
|
||
keep looking at those silly ivy leaves.”
|
||
|
||
“Tell me as soon as you have finished,” said Johnsy, closing her eyes,
|
||
and lying white and still as a fallen statue, “because I want to see
|
||
the last one fall. I’m tired of waiting. I’m tired of thinking. I want
|
||
to turn loose my hold on everything, and go sailing down, down, just
|
||
like one of those poor, tired leaves.”
|
||
|
||
“Try to sleep,” said Sue. “I must call Behrman up to be my model for
|
||
the old hermit miner. I’ll not be gone a minute. Don’t try to move
|
||
’till I come back.”
|
||
|
||
Old Behrman was a painter who lived on the ground floor beneath them.
|
||
He was past sixty and had a Michael Angelo’s Moses beard curling down
|
||
from the head of a satyr along the body of an imp. Behrman was a
|
||
failure in art. Forty years he had wielded the brush without getting
|
||
near enough to touch the hem of his Mistress’s robe. He had been always
|
||
about to paint a masterpiece, but had never yet begun it. For several
|
||
years he had painted nothing except now and then a daub in the line of
|
||
commerce or advertising. He earned a little by serving as a model to
|
||
those young artists in the colony who could not pay the price of a
|
||
professional. He drank gin to excess, and still talked of his coming
|
||
masterpiece. For the rest he was a fierce little old man, who scoffed
|
||
terribly at softness in any one, and who regarded himself as especial
|
||
mastiff-in-waiting to protect the two young artists in the studio
|
||
above.
|
||
|
||
Sue found Behrman smelling strongly of juniper berries in his dimly
|
||
lighted den below. In one corner was a blank canvas on an easel that
|
||
had been waiting there for twenty-five years to receive the first line
|
||
of the masterpiece. She told him of Johnsy’s fancy, and how she feared
|
||
she would, indeed, light and fragile as a leaf herself, float away when
|
||
her slight hold upon the world grew weaker.
|
||
|
||
Old Behrman, with his red eyes plainly streaming, shouted his contempt
|
||
and derision for such idiotic imaginings.
|
||
|
||
“Vass!” he cried. “Is dere people in de world mit der foolishness to
|
||
die because leafs dey drop off from a confounded vine? I haf not heard
|
||
of such a thing. No, I will not bose as a model for your fool
|
||
hermit-dunderhead. Vy do you allow dot silly pusiness to come in der
|
||
prain of her? Ach, dot poor lettle Miss Johnsy.”
|
||
|
||
“She is very ill and weak,” said Sue, “and the fever has left her mind
|
||
morbid and full of strange fancies. Very well, Mr. Behrman, if you do
|
||
not care to pose for me, you needn’t. But I think you are a horrid
|
||
old—old flibbertigibbet.”
|
||
|
||
“You are just like a woman!” yelled Behrman. “Who said I will not bose?
|
||
Go on. I come mit you. For half an hour I haf peen trying to say dot I
|
||
am ready to bose. Gott! dis is not any blace in which one so goot as
|
||
Miss Yohnsy shall lie sick. Some day I vill baint a masterpiece, and ve
|
||
shall all go away. Gott! yes.”
|
||
|
||
Johnsy was sleeping when they went upstairs. Sue pulled the shade down
|
||
to the window-sill, and motioned Behrman into the other room. In there
|
||
they peered out the window fearfully at the ivy vine. Then they looked
|
||
at each other for a moment without speaking. A persistent, cold rain
|
||
was falling, mingled with snow. Behrman, in his old blue shirt, took
|
||
his seat as the hermit-miner on an upturned kettle for a rock.
|
||
|
||
When Sue awoke from an hour’s sleep the next morning she found Johnsy
|
||
with dull, wide-open eyes staring at the drawn green shade.
|
||
|
||
“Pull it up; I want to see,” she ordered, in a whisper.
|
||
|
||
Wearily Sue obeyed.
|
||
|
||
But, lo! after the beating rain and fierce gusts of wind that had
|
||
endured through the livelong night, there yet stood out against the
|
||
brick wall one ivy leaf. It was the last on the vine. Still dark green
|
||
near its stem, but with its serrated edges tinted with the yellow of
|
||
dissolution and decay, it hung bravely from a branch some twenty feet
|
||
above the ground.
|
||
|
||
“It is the last one,” said Johnsy. “I thought it would surely fall
|
||
during the night. I heard the wind. It will fall to-day, and I shall
|
||
die at the same time.”
|
||
|
||
“Dear, dear!” said Sue, leaning her worn face down to the pillow,
|
||
“think of me, if you won’t think of yourself. What would I do?”
|
||
|
||
But Johnsy did not answer. The lonesomest thing in all the world is a
|
||
soul when it is making ready to go on its mysterious, far journey. The
|
||
fancy seemed to possess her more strongly as one by one the ties that
|
||
bound her to friendship and to earth were loosed.
|
||
|
||
The day wore away, and even through the twilight they could see the
|
||
lone ivy leaf clinging to its stem against the wall. And then, with the
|
||
coming of the night the north wind was again loosed, while the rain
|
||
still beat against the windows and pattered down from the low Dutch
|
||
eaves.
|
||
|
||
When it was light enough Johnsy, the merciless, commanded that the
|
||
shade be raised.
|
||
|
||
The ivy leaf was still there.
|
||
|
||
Johnsy lay for a long time looking at it. And then she called to Sue,
|
||
who was stirring her chicken broth over the gas stove.
|
||
|
||
“I’ve been a bad girl, Sudie,” said Johnsy. “Something has made that
|
||
last leaf stay there to show me how wicked I was. It is a sin to want
|
||
to die. You may bring me a little broth now, and some milk with a
|
||
little port in it, and—no; bring me a hand-mirror first, and then pack
|
||
some pillows about me, and I will sit up and watch you cook.”
|
||
|
||
An hour later she said.
|
||
|
||
“Sudie, some day I hope to paint the Bay of Naples.”
|
||
|
||
The doctor came in the afternoon, and Sue had an excuse to go into the
|
||
hallway as he left.
|
||
|
||
“Even chances,” said the doctor, taking Sue’s thin, shaking hand in
|
||
his. “With good nursing you’ll win. And now I must see another case I
|
||
have downstairs. Behrman, his name is—some kind of an artist, I
|
||
believe. Pneumonia, too. He is an old, weak man, and the attack is
|
||
acute. There is no hope for him; but he goes to the hospital to-day to
|
||
be made more comfortable.”
|
||
|
||
The next day the doctor said to Sue: “She’s out of danger. You’ve won.
|
||
Nutrition and care now—that’s all.”
|
||
|
||
And that afternoon Sue came to the bed where Johnsy lay, contentedly
|
||
knitting a very blue and very useless woolen shoulder scarf, and put
|
||
one arm around her, pillows and all.
|
||
|
||
“I have something to tell you, white mouse,” she said. “Mr. Behrman
|
||
died of pneumonia to-day in the hospital. He was ill only two days. The
|
||
janitor found him on the morning of the first day in his room
|
||
downstairs helpless with pain. His shoes and clothing were wet through
|
||
and icy cold. They couldn’t imagine where he had been on such a
|
||
dreadful night. And then they found a lantern, still lighted, and a
|
||
ladder that had been dragged from its place, and some scattered
|
||
brushes, and a palette with green and yellow colors mixed on it,
|
||
and—look out the window, dear, at the last ivy leaf on the wall. Didn’t
|
||
you wonder why it never fluttered or moved when the wind blew? Ah,
|
||
darling, it’s Behrman’s masterpiece—he painted it there the night that
|
||
the last leaf fell.”
|
||
|
||
|
||
|
||
|
||
THE COUNT AND THE WEDDING GUEST
|
||
|
||
|
||
One evening when Andy Donovan went to dinner at his Second Avenue
|
||
boarding-house, Mrs. Scott introduced him to a new boarder, a young
|
||
lady, Miss Conway. Miss Conway was small and unobtrusive. She wore a
|
||
plain, snuffy-brown dress, and bestowed her interest, which seemed
|
||
languid, upon her plate. She lifted her diffident eyelids and shot one
|
||
perspicuous, judicial glance at Mr. Donovan, politely murmured his
|
||
name, and returned to her mutton. Mr. Donovan bowed with the grace and
|
||
beaming smile that were rapidly winning for him social, business and
|
||
political advancement, and erased the snuffy-brown one from the tablets
|
||
of his consideration.
|
||
|
||
Two weeks later Andy was sitting on the front steps enjoying his cigar.
|
||
There was a soft rustle behind and above him, and Andy turned his
|
||
head—and had his head turned.
|
||
|
||
Just coming out the door was Miss Conway. She wore a night-black dress
|
||
of _crêpe de_—_crêpe de_—oh, this thin black goods. Her hat was black,
|
||
and from it drooped and fluttered an ebon veil, filmy as a spider’s
|
||
web. She stood on the top step and drew on black silk gloves. Not a
|
||
speck of white or a spot of color about her dress anywhere. Her rich
|
||
golden hair was drawn, with scarcely a ripple, into a shining, smooth
|
||
knot low on her neck. Her face was plain rather than pretty, but it was
|
||
now illuminated and made almost beautiful by her large gray eyes that
|
||
gazed above the houses across the street into the sky with an
|
||
expression of the most appealing sadness and melancholy.
|
||
|
||
Gather the idea, girls—all black, you know, with the preference for
|
||
_crêpe de_—oh, _crêpe de Chine_—that’s it. All black, and that sad,
|
||
faraway look, and the hair shining under the black veil (you have to be
|
||
a blonde, of course), and try to look as if, although your young life
|
||
had been blighted just as it was about to give a hop-skip-and-a-jump
|
||
over the threshold of life, a walk in the park might do you good, and
|
||
be sure to happen out the door at the right moment, and—oh, it’ll fetch
|
||
’em every time. But it’s fierce, now, how cynical I am, ain’t it?—to
|
||
talk about mourning costumes this way.
|
||
|
||
Mr. Donovan suddenly reinscribed Miss Conway upon the tablets of his
|
||
consideration. He threw away the remaining inch-and-a-quarter of his
|
||
cigar, that would have been good for eight minutes yet, and quickly
|
||
shifted his center of gravity to his low cut patent leathers.
|
||
|
||
“It’s a fine, clear evening, Miss Conway,” he said; and if the Weather
|
||
Bureau could have heard the confident emphasis of his tones it would
|
||
have hoisted the square white signal, and nailed it to the mast.
|
||
|
||
“To them that has the heart to enjoy it, it is, Mr. Donovan,” said Miss
|
||
Conway, with a sigh.
|
||
|
||
Mr. Donovan, in his heart, cursed fair weather. Heartless weather! It
|
||
should hail and blow and snow to be consonant with the mood of Miss
|
||
Conway.
|
||
|
||
“I hope none of your relatives—I hope you haven’t sustained a loss?”
|
||
ventured Mr. Donovan.
|
||
|
||
“Death has claimed,” said Miss Conway, hesitating—“not a relative, but
|
||
one who—but I will not intrude my grief upon you, Mr. Donovan.”
|
||
|
||
“Intrude?” protested Mr. Donovan. “Why, say, Miss Conway, I’d be
|
||
delighted, that is, I’d be sorry—I mean I’m sure nobody could
|
||
sympathize with you truer than I would.”
|
||
|
||
Miss Conway smiled a little smile. And oh, it was sadder than her
|
||
expression in repose.
|
||
|
||
“‘Laugh, and the world laughs with you; weep, and they give you the
|
||
laugh,’” she quoted. “I have learned that, Mr. Donovan. I have no
|
||
friends or acquaintances in this city. But you have been kind to me. I
|
||
appreciate it highly.”
|
||
|
||
He had passed her the pepper twice at the table.
|
||
|
||
“It’s tough to be alone in New York—that’s a cinch,” said Mr. Donovan.
|
||
“But, say—whenever this little old town does loosen up and get friendly
|
||
it goes the limit. Say you took a little stroll in the park, Miss
|
||
Conway—don’t you think it might chase away some of your mullygrubs? And
|
||
if you’d allow me—”
|
||
|
||
“Thanks, Mr. Donovan. I’d be pleased to accept of your escort if you
|
||
think the company of one whose heart is filled with gloom could be
|
||
anyways agreeable to you.”
|
||
|
||
Through the open gates of the iron-railed, old, downtown park, where
|
||
the elect once took the air, they strolled, and found a quiet bench.
|
||
|
||
There is this difference between the grief of youth and that of old
|
||
age: youth’s burden is lightened by as much of it as another shares;
|
||
old age may give and give, but the sorrow remains the same.
|
||
|
||
“He was my fiance,” confided Miss Conway, at the end of an hour. “We
|
||
were going to be married next spring. I don’t want you to think that I
|
||
am stringing you, Mr. Donovan, but he was a real Count. He had an
|
||
estate and a castle in Italy. Count Fernando Mazzini was his name. I
|
||
never saw the beat of him for elegance. Papa objected, of course, and
|
||
once we eloped, but papa overtook us, and took us back. I thought sure
|
||
papa and Fernando would fight a duel. Papa has a livery business—in
|
||
P’kipsee, you know.”
|
||
|
||
“Finally, papa came ’round, all right, and said we might be married
|
||
next spring. Fernando showed him proofs of his title and wealth, and
|
||
then went over to Italy to get the castle fixed up for us. Papa’s very
|
||
proud, and when Fernando wanted to give me several thousand dollars for
|
||
my trousseau he called him down something awful. He wouldn’t even let
|
||
me take a ring or any presents from him. And when Fernando sailed I
|
||
came to the city and got a position as cashier in a candy store.”
|
||
|
||
“Three days ago I got a letter from Italy, forwarded from P’kipsee,
|
||
saying that Fernando had been killed in a gondola accident.”
|
||
|
||
“That is why I am in mourning. My heart, Mr. Donovan, will remain
|
||
forever in his grave. I guess I am poor company, Mr. Donovan, but I
|
||
cannot take any interest in no one. I should not care to keep you from
|
||
gayety and your friends who can smile and entertain you. Perhaps you
|
||
would prefer to walk back to the house?”
|
||
|
||
Now, girls, if you want to observe a young man hustle out after a pick
|
||
and shovel, just tell him that your heart is in some other fellow’s
|
||
grave. Young men are grave-robbers by nature. Ask any widow. Something
|
||
must be done to restore that missing organ to weeping angels in _crêpe
|
||
de Chine_. Dead men certainly get the worst of it from all sides.
|
||
|
||
“I’m awfully sorry,” said Mr. Donovan, gently. “No, we won’t walk back
|
||
to the house just yet. And don’t say you haven’t no friends in this
|
||
city, Miss Conway. I’m awful sorry, and I want you to believe I’m your
|
||
friend, and that I’m awful sorry.”
|
||
|
||
“I’ve got his picture here in my locket,” said Miss Conway, after
|
||
wiping her eyes with her handkerchief. “I never showed it to anybody;
|
||
but I will to you, Mr. Donovan, because I believe you to be a true
|
||
friend.”
|
||
|
||
Mr. Donovan gazed long and with much interest at the photograph in the
|
||
locket that Miss Conway opened for him. The face of Count Mazzini was
|
||
one to command interest. It was a smooth, intelligent, bright, almost a
|
||
handsome face—the face of a strong, cheerful man who might well be a
|
||
leader among his fellows.
|
||
|
||
“I have a larger one, framed, in my room,” said Miss Conway. “When we
|
||
return I will show you that. They are all I have to remind me of
|
||
Fernando. But he ever will be present in my heart, that’s a sure
|
||
thing.”
|
||
|
||
A subtle task confronted Mr. Donovan,—that of supplanting the
|
||
unfortunate Count in the heart of Miss Conway. This his admiration for
|
||
her determined him to do. But the magnitude of the undertaking did not
|
||
seem to weigh upon his spirits. The sympathetic but cheerful friend was
|
||
the rôle he essayed; and he played it so successfully that the next
|
||
half-hour found them conversing pensively across two plates of
|
||
ice-cream, though yet there was no diminution of the sadness in Miss
|
||
Conway’s large gray eyes.
|
||
|
||
Before they parted in the hall that evening she ran upstairs and
|
||
brought down the framed photograph wrapped lovingly in a white silk
|
||
scarf. Mr. Donovan surveyed it with inscrutable eyes.
|
||
|
||
“He gave me this the night he left for Italy,” said Miss Conway. “I had
|
||
the one for the locket made from this.”
|
||
|
||
“A fine-looking man,” said Mr. Donovan, heartily. “How would it suit
|
||
you, Miss Conway, to give me the pleasure of your company to Coney next
|
||
Sunday afternoon?”
|
||
|
||
A month later they announced their engagement to Mrs. Scott and the
|
||
other boarders. Miss Conway continued to wear black.
|
||
|
||
A week after the announcement the two sat on the same bench in the
|
||
downtown park, while the fluttering leaves of the trees made a dim
|
||
kinetoscopic picture of them in the moonlight. But Donovan had worn a
|
||
look of abstracted gloom all day. He was so silent to-night that love’s
|
||
lips could not keep back any longer the questions that love’s heart
|
||
propounded.
|
||
|
||
“What’s the matter, Andy, you are so solemn and grouchy to-night?”
|
||
|
||
“Nothing, Maggie.”
|
||
|
||
“I know better. Can’t I tell? You never acted this way before. What is
|
||
it?”
|
||
|
||
“It’s nothing much, Maggie.”
|
||
|
||
“Yes it is; and I want to know. I’ll bet it’s some other girl you are
|
||
thinking about. All right. Why don’t you go get her if you want her?
|
||
Take your arm away, if you please.”
|
||
|
||
“I’ll tell you then,” said Andy, wisely, “but I guess you won’t
|
||
understand it exactly. You’ve heard of Mike Sullivan, haven’t you? ‘Big
|
||
Mike’ Sullivan, everybody calls him.”
|
||
|
||
“No, I haven’t,” said Maggie. “And I don’t want to, if he makes you act
|
||
like this. Who is he?”
|
||
|
||
“He’s the biggest man in New York,” said Andy, almost reverently. “He
|
||
can about do anything he wants to with Tammany or any other old thing
|
||
in the political line. He’s a mile high and as broad as East River. You
|
||
say anything against Big Mike, and you’ll have a million men on your
|
||
collarbone in about two seconds. Why, he made a visit over to the old
|
||
country awhile back, and the kings took to their holes like rabbits.
|
||
|
||
“Well, Big Mike’s a friend of mine. I ain’t more than deuce-high in the
|
||
district as far as influence goes, but Mike’s as good a friend to a
|
||
little man, or a poor man as he is to a big one. I met him to-day on
|
||
the Bowery, and what do you think he does? Comes up and shakes hands.
|
||
‘Andy,’ says he, ‘I’ve been keeping cases on you. You’ve been putting
|
||
in some good licks over on your side of the street, and I’m proud of
|
||
you. What’ll you take to drink?” He takes a cigar, and I take a
|
||
highball. I told him I was going to get married in two weeks. ‘Andy,’
|
||
says he, ‘send me an invitation, so I’ll keep in mind of it, and I’ll
|
||
come to the wedding.’ That’s what Big Mike says to me; and he always
|
||
does what he says.
|
||
|
||
“You don’t understand it, Maggie, but I’d have one of my hands cut off
|
||
to have Big Mike Sullivan at our wedding. It would be the proudest day
|
||
of my life. When he goes to a man’s wedding, there’s a guy being
|
||
married that’s made for life. Now, that’s why I’m maybe looking sore
|
||
to-night.”
|
||
|
||
“Why don’t you invite him, then, if he’s so much to the mustard?” said
|
||
Maggie, lightly.
|
||
|
||
“There’s a reason why I can’t,” said Andy, sadly. “There’s a reason why
|
||
he mustn’t be there. Don’t ask me what it is, for I can’t tell you.”
|
||
|
||
“Oh, I don’t care,” said Maggie. “It’s something about politics, of
|
||
course. But it’s no reason why you can’t smile at me.”
|
||
|
||
“Maggie,” said Andy, presently, “do you think as much of me as you did
|
||
of your—as you did of the Count Mazzini?”
|
||
|
||
He waited a long time, but Maggie did not reply. And then, suddenly she
|
||
leaned against his shoulder and began to cry—to cry and shake with
|
||
sobs, holding his arm tightly, and wetting the _crêpe de Chine_ with
|
||
tears.
|
||
|
||
“There, there, there!” soothed Andy, putting aside his own trouble.
|
||
“And what is it, now?”
|
||
|
||
“Andy,” sobbed Maggie. “I’ve lied to you, and you’ll never marry me, or
|
||
love me any more. But I feel that I’ve got to tell. Andy, there never
|
||
was so much as the little finger of a count. I never had a beau in my
|
||
life. But all the other girls had; and they talked about ’em; and that
|
||
seemed to make the fellows like ’em more. And, Andy, I look swell in
|
||
black—you know I do. So I went out to a photograph store and bought
|
||
that picture, and had a little one made for my locket, and made up all
|
||
that story about the Count, and about his being killed, so I could wear
|
||
black. And nobody can love a liar, and you’ll shake me, Andy, and I’ll
|
||
die for shame. Oh, there never was anybody I liked but you—and that’s
|
||
all.”
|
||
|
||
But instead of being pushed away, she found Andy’s arm folding her
|
||
closer. She looked up and saw his face cleared and smiling.
|
||
|
||
“Could you—could you forgive me, Andy?”
|
||
|
||
“Sure,” said Andy. “It’s all right about that. Back to the cemetery for
|
||
the Count. You’ve straightened everything out, Maggie. I was in hopes
|
||
you would before the wedding-day. Bully girl!”
|
||
|
||
“Andy,” said Maggie, with a somewhat shy smile, after she had been
|
||
thoroughly assured of forgiveness, “did you believe all that story
|
||
about the Count?”
|
||
|
||
“Well, not to any large extent,” said Andy, reaching for his cigar
|
||
case, “because it’s Big Mike Sullivan’s picture you’ve got in that
|
||
locket of yours.”
|
||
|
||
|
||
|
||
|
||
THE COUNTRY OF ELUSION
|
||
|
||
|
||
The cunning writer will choose an indefinable subject, for he can then
|
||
set down his theory of what it is; and next, at length, his conception
|
||
of what it is not—and lo! his paper is covered. Therefore let us follow
|
||
the prolix and unmapable trail into that mooted country, Bohemia.
|
||
|
||
Grainger, sub-editor of _Doc’s Magazine_, closed his roll-top desk, put
|
||
on his hat, walked into the hall, punched the “down” button, and waited
|
||
for the elevator.
|
||
|
||
Grainger’s day had been trying. The chief had tried to ruin the
|
||
magazine a dozen times by going against Grainger’s ideas for running
|
||
it. A lady whose grandfather had fought with McClellan had brought a
|
||
portfolio of poems in person.
|
||
|
||
Grainger was curator of the Lion’s House of the magazine. That day he
|
||
had “lunched” an Arctic explorer, a short-story writer, and the famous
|
||
conductor of a slaughter-house exposé. Consequently his mind was in a
|
||
whirl of icebergs, Maupassant, and trichinosis.
|
||
|
||
But there was a surcease and a recourse; there was Bohemia. He would
|
||
seek distraction there; and, let’s see—he would call by for Mary
|
||
Adrian.
|
||
|
||
Half an hour later he threaded his way like a Brazilian orchid-hunter
|
||
through the palm forest in the tiled entrance hall of the “Idealia”
|
||
apartment-house. One day the christeners of apartment-houses and the
|
||
cognominators of sleeping-cars will meet, and there will be some
|
||
jealous and sanguinary knifing.
|
||
|
||
The clerk breathed Grainger’s name so languidly into the house
|
||
telephone that it seemed it must surely drop, from sheer inertia, down
|
||
to the janitor’s regions. But, at length, it soared dilatorily up to
|
||
Miss Adrian’s ear. Certainly, Mr. Grainger was to come up immediately.
|
||
|
||
A colored maid with an Eliza-crossing-the-ice expression opened the
|
||
door of the apartment for him. Grainger walked sideways down the narrow
|
||
hall. A bunch of burnt umber hair and a sea-green eye appeared in the
|
||
crack of a door. A long, white, undraped arm came out, barring the way.
|
||
|
||
“So glad you came, Ricky, instead of any of the others,” said the eye.
|
||
“Light a cigarette and give it to me. Going to take me to dinner? Fine.
|
||
Go into the front room till I finish dressing. But don’t sit in your
|
||
usual chair. There’s pie in it—Meringue. Kappelman threw it at Reeves
|
||
last evening while he was reciting. Sophy has just come to straighten
|
||
up. Is it lit? Thanks. There’s Scotch on the mantel—oh, no, it
|
||
isn’t,—that’s chartreuse. Ask Sophy to find you some. I won’t be long.”
|
||
|
||
Grainger escaped the meringue. As he waited his spirits sank still
|
||
lower. The atmosphere of the room was as vapid as a zephyr wandering
|
||
over a Vesuvian lava-bed. Relics of some feast lay about the room,
|
||
scattered in places where even a prowling cat would have been surprised
|
||
to find them. A straggling cluster of deep red roses in a marmalade jar
|
||
bowed their heads over tobacco ashes and unwashed goblets. A
|
||
chafing-dish stood on the piano; a leaf of sheet music supported a
|
||
stack of sandwiches in a chair.
|
||
|
||
Mary came in, dressed and radiant. Her gown was of that thin, black
|
||
fabric whose name through the change of a single vowel seems to summon
|
||
visions ranging between the extremes of man’s experience. Spelled with
|
||
an “ê” it belongs to Gallic witchery and diaphanous dreams; with an “a”
|
||
it drapes lamentation and woe.
|
||
|
||
That evening they went to the Café André. And, as people would confide
|
||
to you in a whisper that André’s was the only truly Bohemian restaurant
|
||
in town, it may be well to follow them.
|
||
|
||
André began his professional career as a waiter in a Bowery ten-cent
|
||
eating-house. Had you seen him there you would have called him tough—to
|
||
yourself. Not aloud, for he would have “soaked” you as quickly as he
|
||
would have soaked his thumb in your coffee. He saved money and started
|
||
a basement _table d’hôte_ in Eighth (or Ninth) Street. One afternoon
|
||
André drank too much absinthe. He announced to his startled family that
|
||
he was the Grand Llama of Thibet, therefore requiring an empty audience
|
||
hall in which to be worshiped. He moved all the tables and chairs from
|
||
the restaurant into the back yard, wrapped a red table-cloth around
|
||
himself, and sat on a step-ladder for a throne. When the diners began
|
||
to arrive, madame, in a flurry of despair, laid cloths and ushered
|
||
them, trembling, outside. Between the tables clothes-lines were
|
||
stretched, bearing the family wash. A party of Bohemia hunters greeted
|
||
the artistic innovation with shrieks and acclamations of delight. That
|
||
week’s washing was not taken in for two years. When André came to his
|
||
senses he had the menu printed on stiffly starched cuffs, and served
|
||
the ices in little wooden tubs. Next he took down his sign and darkened
|
||
the front of the house. When you went there to dine you fumbled for an
|
||
electric button and pressed it. A lookout slid open a panel in the
|
||
door, looked at you suspiciously, and asked if you were acquainted with
|
||
Senator Herodotus Q. McMilligan, of the Chickasaw Nation. If you were,
|
||
you were admitted and allowed to dine. If you were not, you were
|
||
admitted and allowed to dine. There you have one of the abiding
|
||
principles of Bohemia. When André had accumulated $20,000 he moved
|
||
up-town, near Broadway, in the fierce light that beats upon the
|
||
thrown-down. There we find him and leave him, with customers in pearls
|
||
and automobile veils, striving to catch his excellently graduated nod
|
||
of recognition.
|
||
|
||
There is a large round table in the northeast corner of André’s at
|
||
which six can sit. To this table Grainger and Mary Adrian made their
|
||
way. Kappelman and Reeves were already there. And Miss Tooker, who
|
||
designed the May cover for the _Ladies’ Notathome Magazine_. And Mrs.
|
||
Pothunter, who never drank anything but black and white highballs,
|
||
being in mourning for her husband, who—oh, I’ve forgotten what he
|
||
did—died, like as not.
|
||
|
||
Spaghetti-weary reader, wouldst take one penny-in-the-slot peep into
|
||
the fair land of Bohemia? Then look; and when you think you have seen
|
||
it you have not. And it is neither thimbleriggery nor astigmatism.
|
||
|
||
The walls of the Café André were covered with original sketches by the
|
||
artists who furnished much of the color and sound of the place. Fair
|
||
woman furnished the theme for the bulk of the drawings. When you say
|
||
“sirens and siphons” you come near to estimating the alliterative
|
||
atmosphere of André’s.
|
||
|
||
First, I want you to meet my friend, Miss Adrian. Miss Tooker and Mrs.
|
||
Pothunter you already know. While she tucks in the fingers of her elbow
|
||
gloves you shall have her daguerreotype. So faint and uncertain shall
|
||
the portrait be:
|
||
|
||
Age, somewhere between twenty-seven and highneck evening dresses.
|
||
Camaraderie in large bunches—whatever the fearful word may mean.
|
||
Habitat—anywhere from Seattle to Tierra del Fuego. Temperament
|
||
uncharted—she let Reeves squeeze her hand after he recited one of his
|
||
poems; but she counted the change after sending him out with a dollar
|
||
to buy some pickled pig’s feet. Deportment 75 out of a possible 100.
|
||
Morals 100.
|
||
|
||
Mary was one of the princesses of Bohemia. In the first place, it was a
|
||
royal and a daring thing to have been named Mary. There are twenty
|
||
Fifines and Heloises to one Mary in the Country of Elusion.
|
||
|
||
Now her gloves are tucked in. Miss Tooker has assumed a June poster
|
||
pose; Mrs. Pothunter has bitten her lips to make the red show; Reeves
|
||
has several times felt his coat to make sure that his latest poem is in
|
||
the pocket. (It had been neatly typewritten; but he has copied it on
|
||
the backs of letters with a pencil.) Kappelman is underhandedly
|
||
watching the clock. It is ten minutes to nine. When the hour comes it
|
||
is to remind him of a story. Synopsis: A French girl says to her
|
||
suitor: “Did you ask my father for my hand at nine o’clock this
|
||
morning, as you said you would?” “I did not,” he replies. “At nine
|
||
o’clock I was fighting a duel with swords in the Bois de Boulogne.”
|
||
“Coward!” she hisses.
|
||
|
||
The dinner was ordered. You know how the Bohemian feast of reason keeps
|
||
up with the courses. Humor with the oysters; wit with the soup;
|
||
repartee with the entrée; brag with the roast; knocks for Whistler and
|
||
Kipling with the salad; songs with the coffee; the slapsticks with the
|
||
cordials.
|
||
|
||
Between Miss Adrian’s eyebrows was the pucker that shows the intense
|
||
strain it requires to be at ease in Bohemia. Pat must come each sally,
|
||
_mot_, and epigram. Every second of deliberation upon a reply costs you
|
||
a bay leaf. Fine as a hair, a line began to curve from her nostrils to
|
||
her mouth. To hold her own not a chance must be missed. A sentence
|
||
addressed to her must be as a piccolo, each word of it a stop, which
|
||
she must be prepared to seize upon and play. And she must always be
|
||
quicker than a Micmac Indian to paddle the light canoe of conversation
|
||
away from the rocks in the rapids that flow from the Pierian spring.
|
||
For, plodding reader, the handwriting on the wall in the banquet hall
|
||
of Bohemia is “_Laisser faire_.” The gray ghost that sometimes peeps
|
||
through the rings of smoke is that of slain old King Convention.
|
||
Freedom is the tyrant that holds them in slavery.
|
||
|
||
As the dinner waned, hands reached for the pepper cruet rather than for
|
||
the shaker of Attic salt. Miss Tooker, with an elbow to business,
|
||
leaned across the table toward Grainger, upsetting her glass of wine.
|
||
|
||
“Now while you are fed and in good humor,” she said, “I want to make a
|
||
suggestion to you about a new cover.”
|
||
|
||
“A good idea,” said Grainger, mopping the tablecloth with his napkin.
|
||
“I’ll speak to the waiter about it.”
|
||
|
||
Kappelman, the painter, was the cut-up. As a piece of delicate Athenian
|
||
wit he got up from his chair and waltzed down the room with a waiter.
|
||
That dependent, no doubt an honest, pachydermatous, worthy, tax-paying,
|
||
art-despising biped, released himself from the unequal encounter,
|
||
carried his professional smile back to the dumb-waiter and dropped it
|
||
down the shaft to eternal oblivion. Reeves began to make Keats turn in
|
||
his grave. Mrs. Pothunter told the story of the man who met the widow
|
||
on the train. Miss Adrian hummed what is still called a _chanson_ in
|
||
the cafés of Bridgeport. Grainger edited each individual effort with
|
||
his assistant editor’s smile, which meant: “Great! but you’ll have to
|
||
send them in through the regular channels. If I were the chief now—but
|
||
you know how it is.”
|
||
|
||
And soon the head waiter bowed before them, desolated to relate that
|
||
the closing hour had already become chronologically historical; so out
|
||
all trooped into the starry midnight, filling the street with gay
|
||
laughter, to be barked at by hopeful cabmen and enviously eyed by the
|
||
dull inhabitants of an uninspired world.
|
||
|
||
Grainger left Mary at the elevator in the trackless palm forest of the
|
||
Idealia. After he had gone she came down again carrying a small
|
||
hand-bag, ’phoned for a cab, drove to the Grand Central Station,
|
||
boarded a 12.55 commuter’s train, rode four hours with her burnt-umber
|
||
head bobbing against the red-plush back of the seat, and landed during
|
||
a fresh, stinging, glorious sunrise at a deserted station, the size of
|
||
a peach crate, called Crocusville.
|
||
|
||
She walked a mile and clicked the latch of a gate. A bare, brown
|
||
cottage stood twenty yards back; an old man with a pearl-white,
|
||
Calvinistic face and clothes dyed blacker than a raven in a coal-mine
|
||
was washing his hands in a tin basin on the front porch.
|
||
|
||
“How are you, father?” said Mary timidly.
|
||
|
||
“I am as well as Providence permits, Mary Ann. You will find your
|
||
mother in the kitchen.”
|
||
|
||
In the kitchen a cryptic, gray woman kissed her glacially on the
|
||
forehead, and pointed out the potatoes which were not yet peeled for
|
||
breakfast. Mary sat in a wooden chair and decorticated spuds, with a
|
||
thrill in her heart.
|
||
|
||
For breakfast there were grace, cold bread, potatoes, bacon, and tea.
|
||
|
||
“You are pursuing the same avocation in the city concerning which you
|
||
have advised us from time to time by letter, I trust,” said her father.
|
||
|
||
“Yes,” said Mary, “I am still reviewing books for the same
|
||
publication.”
|
||
|
||
After breakfast she helped wash the dishes, and then all three sat in
|
||
straight-back chairs in the bare-floored parlor.
|
||
|
||
“It is my custom,” said the old man, “on the Sabbath day to read aloud
|
||
from the great work entitled the ‘Apology for Authorized and Set Forms
|
||
of Liturgy,’ by the ecclesiastical philosopher and revered theologian,
|
||
Jeremy Taylor.”
|
||
|
||
“I know it,” said Mary blissfully, folding her hands.
|
||
|
||
For two hours the numbers of the great Jeremy rolled forth like the
|
||
notes of an oratorio played on the violoncello. Mary sat gloating in
|
||
the new sensation of racking physical discomfort that the wooden chair
|
||
brought her. Perhaps there is no happiness in life so perfect as the
|
||
martyr’s. Jeremy’s minor chords soothed her like the music of a
|
||
tom-tom. “Why, oh why,” she said to herself, “does some one not write
|
||
words to it?”
|
||
|
||
At eleven they went to church in Crocusville. The back of the pine
|
||
bench on which she sat had a penitential forward tilt that would have
|
||
brought St. Simeon down, in jealousy, from his pillar. The preacher
|
||
singled her out, and thundered upon her vicarious head the damnation of
|
||
the world. At each side of her an adamant parent held her rigidly to
|
||
the bar of judgment. An ant crawled upon her neck, but she dared not
|
||
move. She lowered her eyes before the congregation—a hundred-eyed
|
||
Cerberus that watched the gates through which her sins were fast
|
||
thrusting her. Her soul was filled with a delirious, almost a fanatic
|
||
joy. For she was out of the clutch of the tyrant, Freedom. Dogma and
|
||
creed pinioned her with beneficent cruelty, as steel braces bind the
|
||
feet of a crippled child. She was hedged, adjured, shackled, shored up,
|
||
strait-jacketed, silenced, ordered. When they came out the minister
|
||
stopped to greet them. Mary could only hang her head and answer “Yes,
|
||
sir,” and “No, sir,” to his questions. When she saw that the other
|
||
women carried their hymn-books at their waists with their left hands,
|
||
she blushed and moved hers there, too, from her right.
|
||
|
||
She took the three-o’clock train back to the city. At nine she sat at
|
||
the round table for dinner in the Café André. Nearly the same crowd was
|
||
there.
|
||
|
||
“Where have you been to-day?” asked Mrs. Pothunter. “I ’phoned to you
|
||
at twelve.”
|
||
|
||
“I have been away in Bohemia,” answered Mary, with a mystic smile.
|
||
|
||
There! Mary has given it away. She has spoiled my climax. For I was to
|
||
have told you that Bohemia is nothing more than the little country in
|
||
which you do not live. If you try to obtain citizenship in it, at once
|
||
the court and retinue pack the royal archives and treasure and move
|
||
away beyond the hills. It is a hillside that you turn your head to peer
|
||
at from the windows of the Through Express.
|
||
|
||
At exactly half past eleven Kappelman, deceived by a new softness and
|
||
slowness of riposte and parry in Mary Adrian, tried to kiss her.
|
||
Instantly she slapped his face with such strength and cold fury that he
|
||
shrank down, sobered, with the flaming red print of a hand across his
|
||
leering features. And all sounds ceased, as when the shadows of great
|
||
wings come upon a flock of chattering sparrows. One had broken the
|
||
paramount law of sham-Bohemia—the law of “_Laisser faire_.” The shock
|
||
came not from the blow delivered, but from the blow received. With the
|
||
effect of a schoolmaster entering the play-room of his pupils was that
|
||
blow administered. Women pulled down their sleeves and laid prim hands
|
||
against their ruffled side locks. Men looked at their watches. There
|
||
was nothing of the effect of a brawl about it; it was purely the still
|
||
panic produced by the sound of the ax of the fly cop, Conscience
|
||
hammering at the gambling-house doors of the Heart.
|
||
|
||
With their punctilious putting on of cloaks, with their exaggerated
|
||
pretense of not having seen or heard, with their stammering exchange of
|
||
unaccustomed formalities, with their false show of a light-hearted exit
|
||
I must take leave of my Bohemian party. Mary has robbed me of my
|
||
climax; and she may go.
|
||
|
||
But I am not defeated. Somewhere there exists a great vault miles broad
|
||
and miles long—more capacious than the champagne caves of France. In
|
||
that vault are stored the anticlimaxes that should have been tagged to
|
||
all the stories that have been told in the world. I shall cheat that
|
||
vault of one deposit.
|
||
|
||
Minnie Brown, with her aunt, came from Crocusville down to the city to
|
||
see the sights. And because she had escorted me to fishless trout
|
||
streams and exhibited to me open-plumbed waterfalls and broken my
|
||
camera while I Julyed in her village, I must escort her to the hives
|
||
containing the synthetic clover honey of town.
|
||
|
||
Especially did the custom-made Bohemia charm her. The spaghetti wound
|
||
its tendrils about her heart; the free red wine drowned her belief in
|
||
the existence of commercialism in the world; she was dared and
|
||
enchanted by the rugose wit that can be churned out of California
|
||
claret.
|
||
|
||
But one evening I got her away from the smell of halibut and linoleum
|
||
long enough to read to her the manuscript of this story, which then
|
||
ended before her entrance into it. I read it to her because I knew that
|
||
all the printing-presses in the world were running to try to please her
|
||
and some others. And I asked her about it.
|
||
|
||
“I didn’t quite catch the trains,” said she. “How long was Mary in
|
||
Crocusville?”
|
||
|
||
“Ten hours and five minutes,” I replied.
|
||
|
||
“Well, then, the story may do,” said Minnie. “But if she had stayed
|
||
there a week Kappelman would have got his kiss.”
|
||
|
||
|
||
|
||
|
||
THE FERRY OF UNFULFILMENT
|
||
|
||
|
||
At the street corner, as solid as granite in the “rush-hour” tide of
|
||
humanity, stood the Man from Nome. The Arctic winds and sun had stained
|
||
him berry-brown. His eye still held the azure glint of the glaciers.
|
||
|
||
He was as alert as a fox, as tough as a caribou cutlet and as
|
||
broad-gauged as the aurora borealis. He stood sprayed by a Niagara of
|
||
sound—the crash of the elevated trains, clanging cars, pounding of
|
||
rubberless tires and the antiphony of the cab and truck-drivers
|
||
indulging in scarifying repartee. And so, with his gold dust cashed in
|
||
to the merry air of a hundred thousand, and with the cakes and ale of
|
||
one week in Gotham turning bitter on his tongue, the Man from Nome
|
||
sighed to set foot again in Chilkoot, the exit from the land of street
|
||
noises and Dead Sea apple pies.
|
||
|
||
Up Sixth avenue, with the tripping, scurrying, chattering, bright-eyed,
|
||
homing tide came the Girl from Sieber-Mason’s. The Man from Nome looked
|
||
and saw, first, that she was supremely beautiful after his own
|
||
conception of beauty; and next, that she moved with exactly the steady
|
||
grace of a dog sled on a level crust of snow. His third sensation was
|
||
an instantaneous conviction that he desired her greatly for his own.
|
||
This quickly do men from Nome make up their minds. Besides, he was
|
||
going back to the North in a short time, and to act quickly was no less
|
||
necessary.
|
||
|
||
A thousand girls from the great department store of Sieber-Mason flowed
|
||
along the sidewalk, making navigation dangerous to men whose feminine
|
||
field of vision for three years has been chiefly limited to Siwash and
|
||
Chilkat squaws. But the Man from Nome, loyal to her who had resurrected
|
||
his long cached heart, plunged into the stream of pulchritude and
|
||
followed her.
|
||
|
||
Down Twenty-third street she glided swiftly, looking to neither side;
|
||
no more flirtatious than the bronze Diana above the Garden. Her fine
|
||
brown hair was neatly braided; her neat waist and unwrinkled black
|
||
skirt were eloquent of the double virtues—taste and economy. Ten yards
|
||
behind followed the smitten Man from Nome.
|
||
|
||
Miss Claribel Colby, the Girl from Sieber-Mason’s, belonged to that sad
|
||
company of mariners known as Jersey commuters. She walked into the
|
||
waiting-room of the ferry, and up the stairs, and by a marvellous
|
||
swift, little run, caught the ferry-boat that was just going out. The
|
||
Man from Nome closed up his ten yards in three jumps and gained the
|
||
deck close beside her.
|
||
|
||
Miss Colby chose a rather lonely seat on the outside of the
|
||
upper-cabin. The night was not cold, and she desired to be away from
|
||
the curious eyes and tedious voices of the passengers. Besides, she was
|
||
extremely weary and drooping from lack of sleep. On the previous night
|
||
she had graced the annual ball and oyster fry of the West Side
|
||
Wholesale Fish Dealers’ Assistants’ Social Club No. 2, thus reducing
|
||
her usual time of sleep to only three hours.
|
||
|
||
And the day had been uncommonly troublous. Customers had been
|
||
inordinately trying; the buyer in her department had scolded her
|
||
roundly for letting her stock run down; her best friend, Mamie Tuthill,
|
||
had snubbed her by going to lunch with that Dockery girl.
|
||
|
||
The Girl from Sieber-Mason’s was in that relaxed, softened mood that
|
||
often comes to the independent feminine wage-earner. It is a mood most
|
||
propitious for the man who would woo her. Then she has yearnings to be
|
||
set in some home and heart; to be comforted, and to hide behind some
|
||
strong arm and rest, rest. But Miss Claribel Colby was also very
|
||
sleepy.
|
||
|
||
There came to her side a strong man, browned and dressed carelessly in
|
||
the best of clothes, with his hat in his hand.
|
||
|
||
“Lady,” said the Man from Nome, respectfully, “excuse me for speaking
|
||
to you, but I—I—I saw you on the street, and—and—”
|
||
|
||
“Oh, gee!” remarked the Girl from Sieber-Mason’s, glancing up with the
|
||
most capable coolness. “Ain’t there any way to ever get rid of you
|
||
mashers? I’ve tried everything from eating onions to using hatpins. Be
|
||
on your way, Freddie.”
|
||
|
||
“I’m not one of that kind, lady,” said the Man from Nome—“honest, I’m
|
||
not. As I say, I saw you on the street, and I wanted to know you so bad
|
||
I couldn’t help followin’ after you. I was afraid I wouldn’t ever see
|
||
you again in this big town unless I spoke; and that’s why I done so.”
|
||
|
||
Miss Colby looked once shrewdly at him in the dim light on the
|
||
ferry-boat. No; he did not have the perfidious smirk or the brazen
|
||
swagger of the lady-killer. Sincerity and modesty shone through his
|
||
boreal tan. It seemed to her that it might be good to hear a little of
|
||
what he had to say.
|
||
|
||
“You may sit down,” she said, laying her hand over a yawn with
|
||
ostentatious politness; “and—mind—don’t get fresh or I’ll call the
|
||
steward.”
|
||
|
||
The Man from Nome sat by her side. He admired her greatly. He more than
|
||
admired her. She had exactly the looks he had tried so long in vain to
|
||
find in a woman. Could she ever come to like him? Well, that was to be
|
||
seen. He must do all in his power to stake his claim, anyhow.
|
||
|
||
“My name’s Blayden,” said he—“Henry Blayden.”
|
||
|
||
“Are you real sure it ain’t Jones?” asked the girl, leaning toward him,
|
||
with delicious, knowing raillery.
|
||
|
||
“I’m down from Nome,” he went on with anxious seriousness. “I scraped
|
||
together a pretty good lot of dust up there, and brought it down with
|
||
me.”
|
||
|
||
“Oh, say!” she rippled, pursuing persiflage with engaging lightness,
|
||
“then you must be on the White Wings force. I thought I’d seen you
|
||
somewhere.”
|
||
|
||
“You didn’t see me on the street to-day when I saw you.”
|
||
|
||
“I never look at fellows on the street.”
|
||
|
||
“Well, I looked at you; and I never looked at anything before that I
|
||
thought was half as pretty.”
|
||
|
||
“Shall I keep the change?”
|
||
|
||
“Yes, I reckon so. I reckon you could keep anything I’ve got. I reckon
|
||
I’m what you would call a rough man, but I could be awful good to
|
||
anybody I liked. I’ve had a rough time of it up yonder, but I beat the
|
||
game. Nearly 5,000 ounces of dust was what I cleaned up while I was
|
||
there.”
|
||
|
||
“Goodness!” exclaimed Miss Colby, obligingly sympathetic. “It must be
|
||
an awful dirty place, wherever it is.”
|
||
|
||
And then her eyes closed. The voice of the Man from Nome had a monotony
|
||
in its very earnestness. Besides, what dull talk was this of brooms and
|
||
sweeping and dust? She leaned her head back against the wall.
|
||
|
||
“Miss,” said the Man from Nome, with deeper earnestness and monotony,
|
||
“I never saw anybody I liked as well as I do you. I know you can’t
|
||
think that way of me right yet; but can’t you give me a chance? Won’t
|
||
you let me know you, and see if I can’t make you like me?”
|
||
|
||
The head of the Girl from Sieber-Mason’s slid over gently and rested
|
||
upon his shoulder. Sweet sleep had won her, and she was dreaming
|
||
rapturously of the Wholesale Fish Dealers’ Assistants’ ball.
|
||
|
||
The gentleman from Nome kept his arms to himself. He did not suspect
|
||
sleep, and yet he was too wise to attribute the movement to surrender.
|
||
He was greatly and blissfully thrilled, but he ended by regarding the
|
||
head upon his shoulder as an encouraging preliminary, merely advanced
|
||
as a harbinger of his success, and not to be taken advantage of.
|
||
|
||
One small speck of alloy discounted the gold of his satisfaction. Had
|
||
he spoken too freely of his wealth? He wanted to be liked for himself.
|
||
|
||
“I want to say, Miss,” he said, “that you can count on me. They know me
|
||
in the Klondike from Juneau to Circle City and down the whole length of
|
||
the Yukon. Many a night I’ve laid in the snow up there where I worked
|
||
like a slave for three years, and wondered if I’d ever have anybody to
|
||
like me. I didn’t want all that dust just myself. I thought I’d meet
|
||
just the right one some time, and I done it to-day. Money’s a mighty
|
||
good thing to have, but to have the love of the one you like best is
|
||
better still. If you was ever to marry a man, Miss, which would you
|
||
rather he’d have?”
|
||
|
||
“Cash!”
|
||
|
||
The word came sharply and loudly from Miss Colby’s lips, giving
|
||
evidence that in her dreams she was now behind her counter in the great
|
||
department store of Sieber-Mason.
|
||
|
||
Her head suddenly bobbed over sideways. She awoke, sat straight, and
|
||
rubbed her eyes. The Man from Nome was gone.
|
||
|
||
“Gee! I believe I’ve been asleep,” said Miss Colby. “Wonder what became
|
||
of the White Wings!”
|
||
|
||
|
||
|
||
|
||
THE TALE OF A TAINTED TENNER
|
||
|
||
|
||
Money talks. But you may think that the conversation of a little old
|
||
ten-dollar bill in New York would be nothing more than a whisper. Oh,
|
||
very well! Pass up this _sotto voce_ autobiography of an X if you like.
|
||
If you are one of the kind that prefers to listen to John D’s checkbook
|
||
roar at you through a megaphone as it passes by, all right. But don’t
|
||
forget that small change can say a word to the point now and then. The
|
||
next time you tip your grocer’s clerk a silver quarter to give you
|
||
extra weight of his boss’s goods read the four words above the lady’s
|
||
head. How are they for repartee?
|
||
|
||
I am a ten-dollar Treasury note, series of 1901. You may have seen one
|
||
in a friend’s hand. On my face, in the centre, is a picture of the
|
||
bison Americanus, miscalled a buffalo by fifty or sixty millions of
|
||
Americans. The heads of Capt. Lewis and Capt. Clark adorn the ends. On
|
||
my back is the graceful figure of Liberty or Ceres or Maxine Elliot
|
||
standing in the centre of the stage on a conservatory plant. My
|
||
references is—or are—Section 3,588, Revised Statutes. Ten cold, hard
|
||
dollars—I don’t say whether silver, gold, lead or iron—Uncle Sam will
|
||
hand you over his counter if you want to cash me in.
|
||
|
||
I beg you will excuse any conversational breaks that I make—thanks, I
|
||
knew you would—got that sneaking little respect and agreeable feeling
|
||
toward even an X, haven’t you? You see, a tainted bill doesn’t have
|
||
much chance to acquire a correct form of expression. I never knew a
|
||
really cultured and educated person that could afford to hold a
|
||
ten-spot any longer than it would take to do an Arthur Duffy to the
|
||
nearest That’s All! sign or delicatessen store.
|
||
|
||
For a six-year-old, I’ve had a lively and gorgeous circulation. I guess
|
||
I’ve paid as many debts as the man who dies. I’ve been owned by a good
|
||
many kinds of people. But a little old ragged, damp, dingy five-dollar
|
||
silver certificate gave me a jar one day. I was next to it in the fat
|
||
and bad-smelling purse of a butcher.
|
||
|
||
“Hey, you Sitting Bull,” says I, “don’t scrouge so. Anyhow, don’t you
|
||
think it’s about time you went in on a customs payment and got
|
||
reissued? For a series of 1899 you’re a sight.”
|
||
|
||
“Oh, don’t get crackly just because you’re a Buffalo bill,” says the
|
||
fiver. “You’d be limp, too, if you’d been stuffed down in a thick
|
||
cotton-and-lisle-thread under an elastic all day, and the thermometer
|
||
not a degree under 85 in the store.”
|
||
|
||
“I never heard of a pocketbook like that,” says I. “Who carried you?”
|
||
|
||
“A shopgirl,” says the five-spot.
|
||
|
||
“What’s that?” I had to ask.
|
||
|
||
“You’ll never know till their millennium comes,” says the fiver.
|
||
|
||
Just then a two-dollar bill behind me with a George Washington head,
|
||
spoke up to the fiver:
|
||
|
||
“Aw, cut out yer kicks. Ain’t lisle thread good enough for yer? If you
|
||
was under all cotton like I’ve been to-day, and choked up with factory
|
||
dust till the lady with the cornucopia on me sneezed half a dozen
|
||
times, you’d have some reason to complain.”
|
||
|
||
That was the next day after I arrived in New York. I came in a $500
|
||
package of tens to a Brooklyn bank from one of its Pennsylvania
|
||
correspondents—and I haven’t made the acquaintance of any of the five
|
||
and two spot’s friends’ pocketbooks yet. Silk for mine, every time.
|
||
|
||
I was lucky money. I kept on the move. Sometimes I changed hands twenty
|
||
times a day. I saw the inside of every business; I fought for my
|
||
owner’s every pleasure. It seemed that on Saturday nights I never
|
||
missed being slapped down on a bar. Tens were always slapped down,
|
||
while ones and twos were slid over to the bartenders folded. I got in
|
||
the habit of looking for mine, and I managed to soak in a little
|
||
straight or some spilled Martini or Manhattan whenever I could. Once I
|
||
got tied up in a great greasy roll of bills in a pushcart peddler’s
|
||
jeans. I thought I never would get in circulation again, for the future
|
||
department store owner lived on eight cents’ worth of dog meat and
|
||
onions a day. But this peddler got into trouble one day on account of
|
||
having his cart too near a crossing, and I was rescued. I always will
|
||
feel grateful to the cop that got me. He changed me at a cigar store
|
||
near the Bowery that was running a crap game in the back room. So it
|
||
was the Captain of the precinct, after all, that did me the best turn,
|
||
when he got his. He blew me for wine the next evening in a Broadway
|
||
restaurant; and I really felt as glad to get back again as an Astor
|
||
does when he sees the lights of Charing Cross.
|
||
|
||
A tainted ten certainly does get action on Broadway. I was alimony
|
||
once, and got folded in a little dogskin purse among a lot of dimes.
|
||
They were bragging about the busy times there were in Ossining whenever
|
||
three girls got hold of one of them during the ice cream season. But
|
||
it’s Slow Moving Vehicles Keep to the Right for the little Bok tips
|
||
when you think of the way we bison plasters refuse to stick to anything
|
||
during the rush lobster hour.
|
||
|
||
The first I ever heard of tainted money was one night when a good thing
|
||
with a Van to his name threw me over with some other bills to buy a
|
||
stack of blues.
|
||
|
||
About midnight a big, easy-going man with a fat face like a monk’s and
|
||
the eye of a janitor with his wages raised took me and a lot of other
|
||
notes and rolled us into what is termed a “wad” among the money
|
||
tainters.
|
||
|
||
“Ticket me for five hundred,” said he to the banker, “and look out for
|
||
everything, Charlie. I’m going out for a stroll in the glen before the
|
||
moonlight fades from the brow of the cliff. If anybody finds the roof
|
||
in their way there’s $60,000 wrapped in a comic supplement in the upper
|
||
left-hand corner of the safe. Be bold; everywhere be bold, but be not
|
||
bowled over. ’Night.”
|
||
|
||
I found myself between two $20 gold certificates. One of ’em says to
|
||
me:
|
||
|
||
“Well, old shorthorn, you’re in luck to-night. You’ll see something of
|
||
life. Old Jack’s going to make the Tenderloin look like a hamburg
|
||
steak.”
|
||
|
||
“Explain,” says I. “I’m used to joints, but I don’t care for filet
|
||
mignon with the kind of sauce you serve.”
|
||
|
||
“’Xcuse me,” said the twenty. “Old Jack is the proprietor of this
|
||
gambling house. He’s going on a whiz to-night because he offered
|
||
$50,000 to a church and it refused to accept it because they said his
|
||
money was tainted.”
|
||
|
||
“What is a church?” I asked.
|
||
|
||
“Oh, I forgot,” says the twenty, “that I was talking to a tenner. Of
|
||
course you don’t know. You’re too much to put into the contribution
|
||
basket, and not enough to buy anything at a bazaar. A church is—a large
|
||
building in which penwipers and tidies are sold at $20 each.”
|
||
|
||
I don’t care much about chinning with gold certificates. There’s a
|
||
streak of yellow in ’em. All is not gold that’s quitters.
|
||
|
||
Old Jack certainly was a gild-edged sport. When it came his time to
|
||
loosen up he never referred the waiter to an actuary.
|
||
|
||
By and by it got around that he was smiting the rock in the wilderness;
|
||
and all along Broadway things with cold noses and hot gullets fell in
|
||
on our trail. The third Jungle Book was there waiting for somebody to
|
||
put covers on it. Old Jack’s money may have had a taint to it, but all
|
||
the same he had orders for his Camembert piling up on him every minute.
|
||
First his friends rallied round him; and then the fellows that his
|
||
friends knew by sight; and then a few of his enemies buried the
|
||
hatchet; and finally he was buying souvenirs for so many Neapolitan
|
||
fisher maidens and butterfly octettes that the head waiters were
|
||
’phoning all over town for Julian Mitchell to please come around and
|
||
get them into some kind of order.
|
||
|
||
At last we floated into an uptown café that I knew by heart. When the
|
||
hod-carriers’ union in jackets and aprons saw us coming the chief goal
|
||
kicker called out: “Six—eleven—forty-two—nineteen—twelve” to his men,
|
||
and they put on nose guards till it was clear whether we meant Port
|
||
Arthur or Portsmouth. But Old Jack wasn’t working for the furniture and
|
||
glass factories that night. He sat down quiet and sang “Ramble” in a
|
||
half-hearted way. His feelings had been hurt, so the twenty told me,
|
||
because his offer to the church had been refused.
|
||
|
||
But the wassail went on; and Brady himself couldn’t have hammered the
|
||
thirst mob into a better imitation of the real penchant for the stuff
|
||
that you screw out of a bottle with a napkin.
|
||
|
||
Old Jack paid the twenty above me for a round, leaving me on the
|
||
outside of his roll. He laid the roll on the table and sent for the
|
||
proprietor.
|
||
|
||
“Mike,” says he, “here’s money that the good people have refused. Will
|
||
it buy of your wares in the name of the devil? They say it’s tainted.”
|
||
|
||
“It will,” says Mike, “and I’ll put it in the drawer next to the bills
|
||
that was paid to the parson’s daughter for kisses at the church fair to
|
||
build a new parsonage for the parson’s daughter to live in.”
|
||
|
||
At 1 o’clock when the hod-carriers were making ready to close up the
|
||
front and keep the inside open, a woman slips in the door of the
|
||
restaurant and comes up to Old Jack’s table. You’ve seen the kind—black
|
||
shawl, creepy hair, ragged skirt, white face, eyes a cross between
|
||
Gabriel’s and a sick kitten’s—the kind of woman that’s always on the
|
||
lookout for an automobile or the mendicancy squad—and she stands there
|
||
without a word and looks at the money.
|
||
|
||
Old Jack gets up, peels me off the roll and hands me to her with a bow.
|
||
|
||
“Madam,” says he, just like actors I’ve heard, “here is a tainted bill.
|
||
I am a gambler. This bill came to me to-night from a gentleman’s son.
|
||
Where he got it I do not know. If you will do me the favor to accept
|
||
it, it is yours.”
|
||
|
||
The woman took me with a trembling hand.
|
||
|
||
“Sir,” said she, “I counted thousands of this issue of bills into
|
||
packages when they were virgin from the presses. I was a clerk in the
|
||
Treasury Department. There was an official to whom I owed my position.
|
||
You say they are tainted now. If you only knew—but I won’t say any
|
||
more. Thank you with all my heart, sir—thank you—thank you.”
|
||
|
||
Where do you suppose that woman carried me almost at a run? To a
|
||
bakery. Away from Old Jack and a sizzling good time to a bakery. And I
|
||
get changed, and she does a Sheridan-twenty-miles-away with a dozen
|
||
rolls and a section of jelly cake as big as a turbine water-wheel. Of
|
||
course I lost sight of her then, for I was snowed up in the bakery,
|
||
wondering whether I’d get changed at the drug store the next day in an
|
||
alum deal or paid over to the cement works.
|
||
|
||
A week afterward I butted up against one of the one-dollar bills the
|
||
baker had given the woman for change.
|
||
|
||
“Hallo, E35039669,” says I, “weren’t you in the change for me in a
|
||
bakery last Saturday night?”
|
||
|
||
“Yep,” says the solitaire in his free and easy style.
|
||
|
||
“How did the deal turn out?” I asked.
|
||
|
||
“She blew E17051431 for milk and round steak,” says the one-spot. “She
|
||
kept me till the rent man came. It was a bum room with a sick kid in
|
||
it. But you ought to have seen him go for the bread and tincture of
|
||
formaldehyde. Half-starved, I guess. Then she prayed some. Don’t get
|
||
stuck up, tenner. We one-spots hear ten prayers, where you hear one.
|
||
She said something about ‘who giveth to the poor.’ Oh, let’s cut out
|
||
the slum talk. I’m certainly tired of the company that keeps me. I wish
|
||
I was big enough to move in society with you tainted bills.”
|
||
|
||
“Shut up,” says I; “there’s no such thing. I know the rest of it.
|
||
There’s a ‘lendeth to the Lord’ somewhere in it. Now look on my back
|
||
and read what you see there.”
|
||
|
||
“This note is a legal tender at its face value for all debts public and
|
||
private.”
|
||
|
||
“This talk about tainted money makes me tired,” says I.
|
||
|
||
|
||
|
||
|
||
ELSIE IN NEW YORK
|
||
|
||
|
||
No, bumptious reader, this story is not a continuation of the Elsie
|
||
series. But if your Elsie had lived over here in our big city there
|
||
might have been a chapter in her books not very different from this.
|
||
|
||
Especially for the vagrant feet of youth are the roads of Manhattan
|
||
beset “with pitfall and with gin.” But the civic guardians of the young
|
||
have made themselves acquainted with the snares of the wicked, and most
|
||
of the dangerous paths are patrolled by their agents, who seek to turn
|
||
straying ones away from the peril that menaces them. And this will tell
|
||
you how they guided my Elsie safely through all peril to the goal that
|
||
she was seeking.
|
||
|
||
Elsie’s father had been a cutter for Fox & Otter, cloaks and furs, on
|
||
lower Broadway. He was an old man, with a slow and limping gait, so a
|
||
pot-hunter of a newly licensed chauffeur ran him down one day when
|
||
livelier game was scarce. They took the old man home, where he lay on
|
||
his bed for a year and then died, leaving $2.50 in cash and a letter
|
||
from Mr. Otter offering to do anything he could to help his faithful
|
||
old employee. The old cutter regarded this letter as a valuable legacy
|
||
to his daughter, and he put it into her hands with pride as the shears
|
||
of the dread Cleaner and Repairer snipped off his thread of life.
|
||
|
||
That was the landlord’s cue; and forth he came and did his part in the
|
||
great eviction scene. There was no snowstorm ready for Elsie to steal
|
||
out into, drawing her little red woollen shawl about her shoulders, but
|
||
she went out, regardless of the unities. And as for the red shawl—back
|
||
to Blaney with it! Elsie’s fall tan coat was cheap, but it had the
|
||
style and fit of the best at Fox & Otter’s. And her lucky stars had
|
||
given her good looks, and eyes as blue and innocent as the new shade of
|
||
note paper, and she had $1 left of the $2.50. And the letter from Mr.
|
||
Otter. Keep your eye on the letter from Mr. Otter. That is the clue. I
|
||
desire that everything be made plain as we go. Detective stories are so
|
||
plentiful now that they do not sell.
|
||
|
||
And so we find Elsie, thus equipped, starting out in the world to seek
|
||
her fortune. One trouble about the letter from Mr. Otter was that it
|
||
did not bear the new address of the firm, which had moved about a month
|
||
before. But Elsie thought she could find it. She had heard that
|
||
policemen, when politely addressed, or thumbscrewed by an investigation
|
||
committee, will give up information and addresses. So she boarded a
|
||
downtown car at One Hundred and Seventy-seventh street and rode south
|
||
to Forty-second, which she thought must surely be the end of the
|
||
island. There she stood against the wall undecided, for the city’s roar
|
||
and dash was new to her. Up where she had lived was rural New York, so
|
||
far out that the milkmen awaken you in the morning by the squeaking of
|
||
pumps instead of the rattling of cans.
|
||
|
||
A kind-faced, sunburned young man in a soft-brimmed hat went past Elsie
|
||
into the Grand Central Depot. That was Hank Ross, of the Sunflower
|
||
Ranch, in Idaho, on his way home from a visit to the East. Hank’s heart
|
||
was heavy, for the Sunflower Ranch was a lonesome place, lacking the
|
||
presence of a woman. He had hoped to find one during his visit who
|
||
would congenially share his prosperity and home, but the girls of
|
||
Gotham had not pleased his fancy. But, as he passed in, he noted, with
|
||
a jumping of his pulses, the sweet, ingenuous face of Elsie and her
|
||
pose of doubt and loneliness. With true and honest Western impulse he
|
||
said to himself that here was his mate. He could love her, he knew; and
|
||
he would surround her with so much comfort, and cherish her so
|
||
carefully that she would be happy, and make two sunflowers grow on the
|
||
ranch where there grew but one before.
|
||
|
||
Hank turned and went back to her. Backed by his never before questioned
|
||
honesty of purpose, he approached the girl and removed his soft-brimmed
|
||
hat. Elsie had but time to sum up his handsome frank face with one shy
|
||
look of modest admiration when a burly cop hurled himself upon the
|
||
ranchman, seized him by the collar and backed him against the wall. Two
|
||
blocks away a burglar was coming out of an apartment-house with a bag
|
||
of silverware on his shoulder; but that is neither here nor there.
|
||
|
||
“Carry on yez mashin’ tricks right before me eyes, will yez?” shouted
|
||
the cop. “I’ll teach yez to speak to ladies on me beat that ye’re not
|
||
acquainted with. Come along.”
|
||
|
||
Elsie turned away with a sigh as the ranchman was dragged away. She had
|
||
liked the effect of his light blue eyes against his tanned complexion.
|
||
She walked southward, thinking herself already in the district where
|
||
her father used to work, and hoping to find some one who could direct
|
||
her to the firm of Fox & Otter.
|
||
|
||
But did she want to find Mr. Otter? She had inherited much of the old
|
||
cutter’s independence. How much better it would be if she could find
|
||
work and support herself without calling on him for aid!
|
||
|
||
Elsie saw a sign “Employment Agency” and went in. Many girls were
|
||
sitting against the wall in chairs. Several well-dressed ladies were
|
||
looking them over. One white-haired, kind-faced old lady in rustling
|
||
black silk hurried up to Elsie.
|
||
|
||
“My dear,” she said in a sweet, gentle voice, “are you looking for a
|
||
position? I like your face and appearance so much. I want a young woman
|
||
who will be half maid and half companion to me. You will have a good
|
||
home and I will pay you $30 a month.”
|
||
|
||
Before Elsie could stammer forth her gratified acceptance, a young
|
||
woman with gold glasses on her bony nose and her hands in her jacket
|
||
pockets seized her arm and drew her aside.
|
||
|
||
“I am Miss Ticklebaum,” said she, “of the Association for the
|
||
Prevention of Jobs Being Put Up on Working Girls Looking for Jobs. We
|
||
prevented forty-seven girls from securing positions last week. I am
|
||
here to protect you. Beware of any one who offers you a job. How do you
|
||
know that this woman does not want to make you work as a breaker-boy in
|
||
a coal mine or murder you to get your teeth? If you accept work of any
|
||
kind without permission of our association you will be arrested by one
|
||
of our agents.”
|
||
|
||
“But what am I to do?” asked Elsie. “I have no home or money. I must do
|
||
something. Why am I not allowed to accept this kind lady’s offer?”
|
||
|
||
“I do not know,” said Miss Ticklebaum. “That is the affair of our
|
||
Committee on the Abolishment of Employers. It is my duty simply to see
|
||
that you do not get work. You will give me your name and address and
|
||
report to our secretary every Thursday. We have 600 girls on the
|
||
waiting list who will in time be allowed to accept positions as
|
||
vacancies occur on our roll of Qualified Employers, which now comprises
|
||
twenty-seven names. There is prayer, music and lemonade in our chapel
|
||
the third Sunday of every month.”
|
||
|
||
Elsie hurried away after thanking Miss Ticklebaum for her timely
|
||
warning and advice. After all, it seemed that she must try to find Mr.
|
||
Otter.
|
||
|
||
But after walking a few blocks she saw a sign, “Cashier wanted,” in the
|
||
window of a confectionery store. In she went and applied for the place,
|
||
after casting a quick glance over her shoulder to assure herself that
|
||
the job-preventer was not on her trail.
|
||
|
||
The proprietor of the confectionery was a benevolent old man with a
|
||
peppermint flavor, who decided, after questioning Elsie pretty closely,
|
||
that she was the very girl he wanted. Her services were needed at once,
|
||
so Elsie, with a thankful heart, drew off her tan coat and prepared to
|
||
mount the cashier’s stool.
|
||
|
||
But before she could do so a gaunt lady wearing steel spectacles and
|
||
black mittens stood before her, with a long finger pointing, and
|
||
exclaimed: “Young woman, hesitate!”
|
||
|
||
Elsie hesitated.
|
||
|
||
“Do you know,” said the black-and-steel lady, “that in accepting this
|
||
position you may this day cause the loss of a hundred lives in
|
||
agonizing physical torture and the sending as many souls to perdition?”
|
||
|
||
“Why, no,” said Elsie, in frightened tones. “How could I do that?”
|
||
|
||
“Rum,” said the lady—“the demon rum. Do you know why so many lives are
|
||
lost when a theatre catches fire? Brandy balls. The demon rum lurking
|
||
in brandy balls. Our society women while in theatres sit grossly
|
||
intoxicated from eating these candies filled with brandy. When the fire
|
||
fiend sweeps down upon them they are unable to escape. The candy stores
|
||
are the devil’s distilleries. If you assist in the distribution of
|
||
these insidious confections you assist in the destruction of the bodies
|
||
and souls of your fellow-beings, and in the filling of our jails,
|
||
asylums and almshouses. Think, girl, ere you touch the money for which
|
||
brandy balls are sold.”
|
||
|
||
“Dear me,” said Elsie, bewildered. “I didn’t know there was rum in
|
||
brandy balls. But I must live by some means. What shall I do?”
|
||
|
||
“Decline the position,” said the lady, “and come with me. I will tell
|
||
you what to do.”
|
||
|
||
After Elsie had told the confectioner that she had changed her mind
|
||
about the cashiership she put on her coat and followed the lady to the
|
||
sidewalk, where awaited an elegant victoria.
|
||
|
||
“Seek some other work,” said the black-and-steel lady, “and assist in
|
||
crushing the hydra-headed demon rum.” And she got into the victoria and
|
||
drove away.
|
||
|
||
“I guess that puts it up to Mr. Otter again,” said Elsie, ruefully,
|
||
turning down the street. “And I’m sorry, too, for I’d much rather make
|
||
my way without help.”
|
||
|
||
Near Fourteenth street Elsie saw a placard tacked on the side of a
|
||
doorway that read: “Fifty girls, neat sewers, wanted immediately on
|
||
theatrical costumes. Good pay.”
|
||
|
||
She was about to enter, when a solemn man, dressed all in black, laid
|
||
his hand on her arm.
|
||
|
||
“My dear girl,” he said, “I entreat you not to enter that dressing-room
|
||
of the devil.”
|
||
|
||
“Goodness me!” exclaimed Elsie, with some impatience. “The devil seems
|
||
to have a cinch on all the business in New York. What’s wrong about the
|
||
place?”
|
||
|
||
“It is here,” said the solemn man, “that the regalia of Satan—in other
|
||
words, the costumes worn on the stage—are manufactured. The stage is
|
||
the road to ruin and destruction. Would you imperil your soul by
|
||
lending the work of your hands to its support? Do you know, my dear
|
||
girl, what the theatre leads to? Do you know where actors and actresses
|
||
go after the curtain of the playhouse has fallen upon them for the last
|
||
time?”
|
||
|
||
“Sure,” said Elsie. “Into vaudeville. But do you think it would be
|
||
wicked for me to make a little money to live on by sewing? I must get
|
||
something to do pretty soon.”
|
||
|
||
“The flesh-pots of Egypt,” exclaimed the reverend gentleman, uplifting
|
||
his hands. “I beseech you, my child, to turn away from this place of
|
||
sin and iniquity.”
|
||
|
||
“But what will I do for a living?” asked Elsie. “I don’t care to sew
|
||
for this musical comedy, if it’s as rank as you say it is; but I’ve got
|
||
to have a job.”
|
||
|
||
“The Lord will provide,” said the solemn man. “There is a free Bible
|
||
class every Sunday afternoon in the basement of the cigar store next to
|
||
the church. Peace be with you. Amen. Farewell.”
|
||
|
||
Elsie went on her way. She was soon in the downtown district where
|
||
factories abound. On a large brick building was a gilt sign, “Posey &
|
||
Trimmer, Artificial Flowers.” Below it was hung a newly stretched
|
||
canvas bearing the words, “Five hundred girls wanted to learn trade.
|
||
Good wages from the start. Apply one flight up.”
|
||
|
||
Elsie started toward the door, near which were gathered in groups some
|
||
twenty or thirty girls. One big girl with a black straw hat tipped down
|
||
over her eyes stepped in front of her.
|
||
|
||
“Say, you’se,” said the girl, “are you’se goin’ in there after a job?”
|
||
|
||
“Yes,” said Elsie; “I must have work.”
|
||
|
||
“Now don’t do it,” said the girl. “I’m chairman of our Scab Committee.
|
||
There’s 400 of us girls locked out just because we demanded 50 cents a
|
||
week raise in wages, and ice water, and for the foreman to shave off
|
||
his mustache. You’re too nice a looking girl to be a scab. Wouldn’t you
|
||
please help us along by trying to find a job somewhere else, or would
|
||
you’se rather have your face pushed in?”
|
||
|
||
“I’ll try somewhere else,” said Elsie.
|
||
|
||
She walked aimlessly eastward on Broadway, and there her heart leaped
|
||
to see the sign, “Fox & Otter,” stretching entirely across the front of
|
||
a tall building. It was as though an unseen guide had led her to it
|
||
through the by-ways of her fruitless search for work.
|
||
|
||
She hurried into the store and sent in to Mr. Otter by a clerk her name
|
||
and the letter he had written her father. She was shown directly into
|
||
his private office.
|
||
|
||
Mr. Otter arose from his desk as Elsie entered and took both hands with
|
||
a hearty smile of welcome. He was a slightly corpulent man of nearly
|
||
middle age, a little bald, gold spectacled, polite, well dressed,
|
||
radiating.
|
||
|
||
“Well, well, and so this is Beatty’s little daughter! Your father was
|
||
one of our most efficient and valued employees. He left nothing? Well,
|
||
well. I hope we have not forgotten his faithful services. I am sure
|
||
there is a vacancy now among our models. Oh, it is easy work—nothing
|
||
easier.”
|
||
|
||
Mr. Otter struck a bell. A long-nosed clerk thrust a portion of himself
|
||
inside the door.
|
||
|
||
“Send Miss Hawkins in,” said Mr. Otter. Miss Hawkins came.
|
||
|
||
“Miss Hawkins,” said Mr. Otter, “bring for Miss Beatty to try on one of
|
||
those Russian sable coats and—let’s see—one of those latest model black
|
||
tulle hats with white tips.”
|
||
|
||
Elsie stood before the full-length mirror with pink cheeks and quick
|
||
breath. Her eyes shone like faint stars. She was beautiful. Alas! she
|
||
was beautiful.
|
||
|
||
I wish I could stop this story here. Confound it! I will. No; it’s got
|
||
to run it out. I didn’t make it up. I’m just repeating it.
|
||
|
||
I’d like to throw bouquets at the wise cop, and the lady who rescues
|
||
Girls from Jobs, and the prohibitionist who is trying to crush brandy
|
||
balls, and the sky pilot who objects to costumes for stage people
|
||
(there are others), and all the thousands of good people who are at
|
||
work protecting young people from the pitfalls of a great city; and
|
||
then wind up by pointing out how they were the means of Elsie reaching
|
||
her father’s benefactor and her kind friend and rescuer from poverty.
|
||
This would make a fine Elsie story of the old sort. I’d like to do
|
||
this; but there’s just a word or two to follow.
|
||
|
||
While Elsie was admiring herself in the mirror, Mr. Otter went to the
|
||
telephone booth and called up some number. Don’t ask me what it was.
|
||
|
||
“Oscar,” said he, “I want you to reserve the same table for me this
|
||
evening. … What? Why, the one in the Moorish room to the left of the
|
||
shrubbery. … Yes; two. … Yes, the usual brand; and the ’85
|
||
Johannisburger with the roast. If it isn’t the right temperature I’ll
|
||
break your neck. … No; not her … No, indeed … A new one—a peacherino,
|
||
Oscar, a peacherino!”
|
||
|
||
Tired and tiresome reader, I will conclude, if you please, with a
|
||
paraphrase of a few words that you will remember were written by him—by
|
||
him of Gad’s Hill, before whom, if you doff not your hat, you shall
|
||
stand with a covered pumpkin—aye, sir, a pumpkin.
|
||
|
||
Lost, Your Excellency. Lost, Associations and Societies. Lost, Right
|
||
Reverends and Wrong Reverends of every order. Lost, Reformers and
|
||
Lawmakers, born with heavenly compassion in your hearts, but with the
|
||
reverence of money in your souls. And lost thus around us every day.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
*** END OF THE PROJECT GUTENBERG EBOOK THE TRIMMED LAMP, AND OTHER STORIES OF THE FOUR MILLION ***
|
||
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|
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