THE OLD MAN
THE OLD MAN
[Response made to the sentiment, "The Old Man," at a dinner of the Indianapolis Literary Club.]
"You are old, Father William," the young man said,
"And your hair has become very white;
And yet you incessantly stand on your head—
Do you think, at your age, it is right?"
THE OLD MAN never grows so old as to be come either stale, juiceless, or unpalatable. The older he grows, the mellower and riper he becomes. His eyes may fail him, his step falter, and his big- mouthed shoes—"a world too wide for his shrunk shank"—may cluck and shuffle as he walks; his rheumatics may make great knuckles of his knees; the rusty hinges of his vertebrae may refuse cunningly to articulate, but all the same the "backbone" of the old man has been time-seasoned, tried, and tested, and no deerskin vest was ever buttoned round a tougher! Look at the eccentric kinks and curvings of it—its abrupt depression at the base, and its rounded bulging at the shoulders; but don't laugh with the smart young man who airily observes how full-chested the old man would be if his head were only turned around, and don't kill the young man, either, until you take him out some place and tell him that the old man got himself warped up in that shape along about the time when everybody had to hump himself. Try to bring before the young man's defective mental vision a dissolving view of a "good old-fashioned barn-raisin' "—and the old man doing all the "raisin' " himself, and "grubbin'," and "burnin' " logs and "underbrush," and "dreenin' " at the same time, and trying to coax something besides calamus to grow in the spongy little tract of swamp-land that he could stand in the middle of and "wobble" and shake the whole farm. Or, if you can't recall the many salient features of the minor disadvantages under which the old man used to labor, your pliant limbs may soon overtake him, and he will smilingly tell you of trials and privations of the early days, until your anxiety about the young man just naturally stagnates, and dries up, and evaporates, and blows away.
In this little side-show of existence the old man is always worth the full price of admission. He is not only the greatest living curiosity on exhibition, but the object of the most genial solicitude and interest to the serious observer. It is even good to look upon his vast fund of afflictions, finding prominent above them all that wholesome patience that surpasseth understanding; to dwell compassionately upon his prodigality of aches and ailments, and yet, by his pride in their wholesale possession, and his thorough resignation to the inevitable, continually to be rebuked, and in part made envious of the old man's right-of-title situation. Nature, after all, is kinder than unkind to him, and always has a compensation and a soothing balm for every blow that age may deal him. And in the fading embers of the old man's eyes there are, at times, swift flashes and rekindlings of the smiles of youth, and the old artlessness about the wrinkled face that dwelt there when his cheeks were like the pippins, and his
"Red lips redder still
Kissed by strawberries on the hill."
And thus it is the children are intuitively drawn toward him, and young, pure-faced mothers are forever hovering about him, with just such humorings and kindly ministrations as they bestow on the little emperor of the household realm, strapped in his high chair at the dinner-table, crying "Amen" in the midst of "grace," and ignoring the "substantials" of the groaning board, and at once insisting upon a square deal of the more "temporal blessings" of jelly, cake, and pie. And the old man has justly earned every distinction he enjoys. Therefore let him make your hearthstone all the brighter with the ruddy coal he drags up from it with his pipe, as he comfortably settles himself where, with reminiscent eyes, he may watch the curling smoke of his tobacco as it indolently floats, and drifts and drifts, and dips at last, and vanishes up the grateful flue. At such times, when a five-year-old, what a haven every boy has found between the old grandfather's knees! Look back in fancy at the faces blending there—the old man's and the boy's—and, with the nimbus of the smoke-wreaths round the brows, the gilding of the firelight on cheek and chin, and the rapt and far-off gazings of the eyes of both, why, but for the silver tinsel of the beard of one and the dusky elf-locks of the other, the faces seem almost like twins.
With such a view of age, one feels like whipping up the lazy years and getting old at once. In heart and soul the old man is not old—and never will be. He is paradoxically old, and that is all. So it is that he grows younger with increasing years, until old age at worst is always at a level par with youth. Who ever saw a man so old as not secretly and most heartily to wish the veteran years upon years of greater age? And at what great age did ever any old man pass away and leave behind no sudden shock, and no selfish hearts still to yearn after him and grieve on unconsoled? Why, even in the slow declining years of old Methuselah—the banner old man of the universe,—so old that history grew absolutely tired waiting for him to go off some place and die—even Methuselah's taking off must have seemed abrupt to his immediate friends, and a blow to the general public that doubtless plunged it into the profoundest gloom. For nine hundred and sixty-nine years this durable old man had "smelt the rose above the mold," and doubtless had a thousand times been told by congratulating friends that he didn't look a day older than nine hundred and sixty-eight; and necessarily the habit of living, with him, was hard to overcome.
In his later years what an oracle he must have been, and with what reverence his friends must have looked upon the "little, glassy-headed, hairless man," and hung upon his every utterance! And with what unerring gift of prophecy could he foretell the long and husky droughts of summer—the gracious rains, at last,—the milk-sick breeding autumn and the blighting winter, simply by the way his bones felt after a century's casual attack of inflammatory rheumatism! And, having annually frosted his feet for some odd centuries—boy and man—we can fancy with what quiet delight he was wont to practise his prognosticating facilities on "the boys," forecasting the coming of the then fledgling cyclone and the gosling blizzard, and doubtless even telling the day of the month by the way his heels itched. And with what wonderment and awe must old chronic maladies have regarded him—tackling him singly or in solid phalanx, only to drop back pantingly, at last, and slink away dumfounded and abashed! And with what brazen pride the final conquering disease must have exulted over its shameless victory! But this is pathos here, and not a place for ruthless speculation: a place for asterisks—not words. Peace! peace! The man is dead! "The fever called living is over at last." The patient slumbers. He takes his rest. He sleeps. Come away! He is the oldest dead man in the cemetery.
Whether the hardy, stall-fed old man of the country, or the opulent and well-groomed old man of the metropolis, he is one in our esteem and the still warmer affections of the children. The old man from the country—you are always glad to see him and hear him talk. There is a breeziness of the woods and hills and a spice of the bottom-lands and thickets in everything he says, and dashes of shadow and sunshine over the waving wheat are in all the varying expressions of his swarthy face. The grip of his hand is a thing to bet on, and the undue loudness of his voice in greeting you is even lulling and melodious, since unconsciously it argues for the frankness of a nature that has nothing to conceal. Very probably you are forced to smile, meeting the old man in town, where he never seems at ease, and invariably apologizes in some way for his presence, saying, perhaps, by way of explanation: "Yessir, here I am, in spite o' myself. Come in day afore yisterd'y. Boys was thrashin' on the place, and the beltin' kept a-troublin' and delayin' of 'em —and I was potterin' round in the way anyhow, tel finally they sent me off to town to git some whang-luther and ribbets, and while I was in, I thought—I thought I'd jest run over and see the Jedge about that Henry County matter; and as I was knockin' round the court-house, first thing I knowed I'll be switched to death ef they didn't pop me on the jury! And here I am, eatin' my head off up here at the tavern. Reckon, tho', the county'll stand good for my expenses. Ef hit cain't, I kin!" And, with the heartiest sort of a laugh, the old man jogs along, leaving you to smile till bedtime over the happiness he has unconsciously contributed.
Another instance of the old man's humor under trying circumstances was developed but a few days ago. This old man was a German citizen of an inundated town in the Ohio valley. There was much of the pathetic in his experience, but the bravery with which he bore his misfortunes was admirable. A year ago his little home was first invaded by the flood, and himself and wife, and his son's family, were driven from it to the hills for safety—but the old man's telling of the story can not be improved upon. It ran like this: "Last year, ven I svwim out fon dot leedle home off mine, mit my vife, unt my son, his vife unt leedle girls, I dink dot's der last time goot-by to dose proberty! But afder der vater is gone down, unt dry oop unt eberding, dere vas yet der house dere. Unt my friends dey sait, 'Dot's all you got yet.—Vell, feex oop der house—dot's someding! feex oop der house, unt you vood still hatt yet a home!' Vell, all summer I go to work, unt spent me eberding unt feex der proberty. Den I got yet a morgage on der house! Dees time here der vater come again—till I vish it vas last year vonce! Unt now all I safe is my vife, unt my son his vife, unt my leedle grandchilderns! Else everding is gone! All—everyding!—Der house gone—unt—unt—der morgage gone, too!" And then the old Teutonic face "melted all over in sunshiny smiles," and, turning, he bent and lifted a sleepy little girl from a pile of dirty bundles in the depot waiting-room and went pacing up and down the muddy floor, saying things in German to the child. I thought the whole thing rather beautiful. That's the kind of an old man who, saying good-by to his son, would lean and kiss the young man's hand, as in the Dutch regions of Pennsylvania, two or three weeks ago, I saw an old man do.
Mark Lemon must have known intimately and loved the genteel old man of the city when the once famous domestic drama of "Grandfather Whitehead" was conceived. In the play the old man—a once prosperous merchant—finds a happy home in the household of his son-in-law. And here it is that the gentle author has drawn at once the poem, the picture, and the living proof of the old Wordsworthian axiom, "The child is father to the man." The old man, in his simple way, and in his great love for his wilful little grandchild, is being continually distracted from the grave sermons and moral lessons he would read the boy. As, for instance, aggrievedly attacking the little fellow's neglect of his books and his inordinate tendency toward idleness and play—the culprit, in the meantime, down on the floor clumsily winding his top— the old man runs on something in this wise:
"Play! play! play! Always play and no work, no study, no lessons. And here you are, the only child of the most indulgent parents in the world—parents that, proud as they are of you, would be ten times prouder only to see you at your book, storing your mind with useful knowledge, instead of, day in, day out, frittering away your time over your toys and your tops and marbles. And even when your old grandfather tries to advise you and wants to help you, and is always ready and eager to assist you, and all—why, what's it all amount to? Coax and beg and tease and plead with you, and yet—and yet"— (Mechanically kneeling as he speaks)— "Now that's not the way to wind your top! How many more times will I have to show you!" And an instant later the old man's admonitions are entirely forgotten, and his artless nature—dull now to everything but the childish glee in which he shares— is all the sweeter and more lovable for its simplicity.
And so it is, Old Man, that you are always touching the very tenderest places in our hearts— unconsciously appealing to our warmest sympathies, and taking to yourself our purest love. We look upon your drooping figure, and we mark your tottering step and trembling hand, yet a reliant something in your face forbids compassion, and a something in your eye will not permit us to look sorrowfully on you. And, however we may smile at your quaint ways and old-school oddities of manner and of speech, our merriment is ever tempered with the gentlest reverence.
THE GILDED ROLL
Nosing around in an old box—packed away, and lost to memory for years—an hour ago I found a musty package of gilt paper, or rather, a roll it was, with the green-tarnished gold of the old sheet for the outer wrapper. I picked it up mechanically to toss it into some obscure corner, when, carelessly lifting it by one end, a child's tin whistle dropped therefrom and fell tinkling on the attic floor. It lies before me on my writing table now—and so, too, does the roll entire, though now a roll no longer,—for my eager fingers have unrolled the gilded covering, and all its precious contents are spread out beneath my hungry eyes.
Here is a scroll of ink-written music. I don't read music, but I know the dash and swing of the pen that rained it on the page. Here is a letter, with the selfsame impulse and abandon in every syllable; and its melody—however sweet the other —is far more sweet to me. And here are other letters like it—three—five—and seven, at least. Bob wrote them from the front, and Billy kept them for me when I went to join him. Dear boy! Dear boy!
Here are some cards of bristol-board. Ah! when Bob came to these there were no blotches then. What faces—what expressions! The droll, ridiculous, good-for-nothing genius, with his "sad mouth," as he called it, "upside down," laughing always— at everything, at big rallies, and mass-meetings and conventions, county fairs, and floral halls, booths, watermelon-wagons, dancing-tents, the swing, the Daguerrean-car, the "lung-barometer," and the air- gun man. Oh! what a gifted, good-for-nothing boy Bob was in those old days! And here's a picture of a girlish face—a very faded photograph—even fresh from "the gallery," five and twenty years ago, it was a faded thing. But the living face—how bright and clear that was!—for "Doc," Bob's awful name for her, was a pretty girl, and brilliant, clever, lovable every way. No wonder Bob fancied her! And you could see some hint of her jaunty loveliness in every fairy face he drew, and you could find her happy ways and dainty tastes unconsciously assumed in all he did—the books he read—the poems he admired, and those he wrote; and, ringing clear and pure and jubilant, the vibrant beauty of her voice could clearly be defined and traced through all his music. Now, there's the happy pair of them—Bob and Doc. Make of them just whatever your good fancy may dictate, but keep in mind the stern, relentless ways of destiny.
You are not at the beginning of a novel, only at the threshold of one of a hundred experiences that lie buried in the past, and this particular one most happily resurrected by these odds and ends found in the gilded roll.
You see, dating away back, the contents of this package, mainly, were hastily gathered together after a week's visit out at the old Mills farm; the gilt paper, and the whistle, and the pictures, they were Billy's; the music pages, Bob's, or Doc's; the letters and some other manuscripts were mine.
The Mills girls were great friends of Doc's, and often came to visit her in town; and so Doc often visited the Mills's. This is the way that Bob first got out there, and won them all, and "shaped the thing" for me, as he would put it; and lastly, we had lugged in Billy,—such a handy boy, you know, to hold the horses on picnic excursions, and to watch the carriage and the luncheon, and all that.— "Yes, and," Bob would say, "such a serviceable boy in getting all the fishing tackle in proper order, and digging bait, and promenading in our wake up and down the creek all day, with the minnow- bucket hanging on his arm, don't you know!"
But jolly as the days were, I think jollier were the long evenings at the farm. After the supper in the grove, where, when the weather permitted, always stood the table ankle-deep in the cool green plush of the sward; and after the lounge upon the grass, and the cigars, and the new fish stories, and the general invoice of the old ones, it was delectable to get back to the girls again, and in the old "best room" hear once more the lilt of the old songs and the staccatoed laughter of the piano mingling with the alto and falsetto voices of the Mills girls, and the gallant soprano of the dear girl Doc.
This is the scene I want you to look in upon, as, in fancy, I do now—and here are the materials for it all, husked from the gilded roll:
Bob, the master, leans at the piano now, and Doc is at the keys, her glad face often thrown up side- wise toward his own. His face is boyish—for there is yet but the ghost of a mustache upon his lip. His eyes are dark and clear, of over-size when looking at you, but now their lids are drooped above his violin, whose melody has, for the time, almost smoothed away the upward kinkings of the corners of his mouth. And wonderfully quiet now is every one, and the chords of the piano, too, are low and faltering; and so, at last, the tune itself swoons into the universal hush, and—Bob is rasping, in its stead, the ridiculous, but marvelously perfect imitation of the "priming" of a pump, while Billy's hands forget the "chiggers" on the bare backs of his feet, as, with clapping palms, he dances round the room in ungovernable spasms of delight. And then we all laugh; and Billy, taking advantage of the general tumult, pulls Bob's head down and whispers, "Git 'em to stay up 'way late to-night!" And Bob, perhaps remembering that we go back home to-morrow, winks at the little fellow and whispers, "You let me manage 'em! Stay up till broad daylight if we take a notion—eh?" And Billy dances off again in newer glee, while the inspired musician is plunking a banjo imitation on his enchanted instrument, which is unceremoniously drowned out by a circus-tune from Doc that is absolutely inspiring to every one but the barefooted brother, who drops back listlessly to his old position on the floor and sullenly renews operations on his "chigger" claims.
"Thought you was goin' to have pop-corn to-night all so fast!" he says, doggedly, in the midst of a momentary lull that has fallen on a game of whist. And then the oldest Mills girl, who thinks cards stupid anyhow, says: "That's so, Billy; and we're going to have it, too; and right away, for this game's just ending, and I shan't submit to being bored with another. I say 'pop-corn' with Billy! And after that," she continues, rising and addressing the party in general, "we must have another literary and artistic tournament, and that's been in contemplation and preparation long enough; so you gentlemen can be pulling your wits together for the exercises, while us girls see to the refreshments."
"Have you done anything toward it!" queries Bob, when the girls are gone, with the alert Billy in their wake.
"Just an outline," I reply. "How with you?"
"Clean forgot it—that is, the preparation; but I've got a little old second-hand idea, if you'll all help me out with it, that'll amuse us some, and tickle Billy, I'm certain."
So that's agreed upon; and while Bob produces his portfolio, drawing paper, pencils and so on, I turn to my note-book in a dazed way and begin counting my fingers in a depth of profound abstraction, from which I am barely aroused by the reappearance of the girls and Billy.
"Goody, goody, goody! Bob's goin' to make pictures!" cries Billy, in additional transport to that the cake pop-corn had produced.
"Now, you girls," says Bob, gently detaching the affectionate Billy from one leg and moving a chair to the table, with a backward glance of intelligence toward the boy,—"you girls are to help us all you can, and we can all work; but, as I'll have all the illustrations to do, I want you to do as many of the verses as you can—that'll be easy, you know,— because the work entire is just to consist of a series of fool-epigrams, such as, for instance,—listen, Billy:
Here lies a young man
Who in childhood began
To swear, and to smoke, and to drink,—
In his twentieth year
He quit swearing and beer,
And yet is still smoking, I think."
And the rest of his instructions are delivered in lower tones, that the boy may not hear; and then, all matters seemingly arranged, he turns to the boy with —"And now, Billy, no lookin' over shoulders, you know, or swinging on my chair-back while I'm at work. When the pictures are all finished, then you can take a squint at 'em, and not before. Is that all hunky, now?"
"Oh! who's a-goin' to look over your shoulder— only DOC." And as the radiant Doc hastily quits that very post, and dives for the offending brother, he scrambles under the piano and laughs derisively.
And then a silence falls upon the group—a gracious quiet, only intruded upon by the very juicy and exuberant munching of an apple from a remote fastness of the room, and the occasional thumping of a bare heel against the floor.
At last I close my note-book with a half slam.
"That means," says Bob, laying down his pencil, and addressing the girls,—"that means he's concluded his poem, and that he's not pleased with it in any manner, and that he intends declining to read it, for that self-acknowledged reason, and that he expects us to believe every affected word of his entire speech—"
"Oh, don't!" I exclaim.
"Then give us the wretched production, in all its hideous deformity!"
And the girls all laugh so sympathetically, and Bob joins them so gently, and yet with a tone, I know, that can be changed so quickly to my further discomfiture, that I arise at once and read, without apology or excuse, this primitive and very callow poem recovered here to-day from the gilded roll:
A BACKWARD LOOK
As I sat smoking, alone, yesterday,
And lazily leaning back in my chair,
Enjoying myself in a general way—
Allowing my thoughts a holiday
From weariness, toil and care,
My fancies—doubtless, for ventilation—
Left ajar the gates of my mind,—
And Memory, seeing the situation
Slipped out in the street of "Auld Lang Syne"—
Wandering ever with tireless feet
Through scenes of silence, and jubilee
Of long-hushed voices; and faces sweet
Were thronging the shadowy side of the street
As far as the eye could see;
Dreaming again, in anticipation,
The same old dreams of our boyhood's days
That never come true, from the vague sensation
Of walking asleep in the world's strange ways.
Away to the house where I was born!
And there was the selfsame clock that ticked
From the close of dusk to the burst of morn,
When life-warm hands plucked the golden corn
And helped when the apples were picked.
And the "chany dog" on the mantel-shelf,
With the gilded collar and yellow eyes,
Looked just as at first, when I hugged myself
Sound asleep with the dear surprise.
And down to the swing in the locust-tree,
Where the grass was worn from the trampled ground,
And where "Eck" Skinner, "Old" Carr, and three
Or four such other boys used to be
Doin' "sky-scrapers," or "whirlin' round":
And again Bob climbed for the bluebird's nest,
And again "had shows" in the buggy-shed
Of Guymon's barn, where still, unguessed,
The old ghosts romp through the best days dead!
And again I gazed from the old schoolroom
With a wistful look, of a long June day,
When on my cheek was the hectic bloom
Caught of Mischief, as I presume—
He had such a "partial" way,
It seemed, toward me.—And again I thought
Of a probable likelihood to be
Kept in after school—for a girl was caught
Catching a note from me.
And down through the woods to the swimming-hole—
Where the big, white, hollow, old sycamore grows,—
And we never cared when the water was cold,
And always "ducked" the boy that told
On the fellow that tied the clothes.—
When life went so like a dreamy rhyme,
That it seems to me now that then
The world was having a jollier time
Than it ever will have again.
The crude production is received, I am glad to note, with some expressions of favor from the company though Bob, of course, must heartlessly dissipate my weak delight by saying, "Well, it's certainly bad enough; though," he goes on with an air of deepest critical sagacity and fairness, "considered, as it should be, justly, as the production of a jour.-poet, why, it might be worse—that is, a little worse."
"Probably," I remember saying,—"probably I might redeem myself by reading you this little amateurish bit of verse, enclosed to me in a letter by mistake, not very long ago." I here fish an envelope from my pocket, the address of which all recognize as in Bob's almost printed writing. He smiles vacantly at it—then vividly colors.
"What date?" he stoically asks.
"The date," I suggestively answer, "of your last letter to our dear Doc, at boarding-school, two days exactly in advance of her coming home—this veritable visit now."
Both Bob and Doc rush at me—but too late. The letter and contents have wholly vanished. The youngest Miss Mills quiets us—urgently distracting us, in fact, by calling our attention to the immediate completion of our joint production; "For now," she says, "with our new reinforcement, we can, with becoming diligence, soon have it ready for both printer and engraver, and then we'll wake up the boy (who has been fortunately slumbering for the last quarter of an hour), and present to him, as designed and intended, this matchless creation of our united intellects." At the conclusion of this speech we all go good-humoredly to work, and at the close of half an hour the tedious, but most ridiculous, task is announced completed.
As I arrange and place in proper form here on the table the separate cards-twenty-seven in number— I sigh to think that I am unable to transcribe for you the best part of the nonsensical work—the illustrations. All I can give is the written copy of—
BILLY'S ALPHABETICAL ANIMAL SHOW
A WAS an elegant Ape
Who tied up his ears with red tape,
And wore a long veil
Half revealing his tail
Which was trimmed with jet bugles and crape.
B was a boastful old Bear
Who used to say,—"Hoomh! I declare
I can eat—if you'll get me
The children, and let me—
Ten babies, teeth, toe-nails and hair!"
C was a Codfish who sighed
When snatched from the home of his pride,
But could he, embrined,
Guess this fragrance behind,
How glad he would be to have died!
D was a dandified Dog
Who said,—"Though it's raining like fog
I wear no umbrellah,
Me boy, for a fellah
Might just as well travel incog!"
E was an elderly Eel
Who would say,—"Well, I really feel—
As my grandchildren wriggle
And shout 'I should giggle'—
A trifle run down at the heel!"
F was a Fowl who conceded
SOME hens might hatch more eggs than SHE did,—
But she'd children as plenty
As eighteen or twenty,
And that was quite all that she needed.
G was a gluttonous Goat
Who, dining one day, table d'hote,
Ordered soup-bone, au fait,
And fish, papier-mache,
And a filet of Spring overcoat,
H was a high-cultured Hound
Who could clear forty feet at a bound,
And a coon once averred
That his howl could be heard
For five miles and three-quarters around.
I was an Ibex ambitious
To dive over chasms auspicious;
He would leap down a peak
And not light for a week,
And swear that the jump was delicious.
J was a Jackass who said
He had such a bad cold in his head,
If it wasn't for leaving
The rest of us grieving,
He'd really rather be dead.
K was a profligate Kite
Who would haunt the saloons every night;
And often he ust
To reel back to his roost
Too full to set up on it right.
L was a wary old Lynx
Who would say,—"Do you know wot I thinks?—
I thinks ef you happen
To ketch me a-nappin'
I'm ready to set up the drinks!"
M was a merry old Mole,
Who would snooze all the day in his hole,
Then—all night, a-rootin'
Around and galootin'—
He'd sing "Johnny, Fill up the Bowl!"
N was a caustical Nautilus
Who sneered, "I suppose, when they've CAUGHT all us,
Like oysters they'll serve us,
And can us, preserve us,
And barrel, and pickle, and bottle us!"
O was an autocrat Owl—
Such a wise—such a wonderful fowl!
Why, for all the night through
He would hoot and hoo-hoo,
And hoot and hoo-hooter and howl!
P was a Pelican pet,
Who gobbled up all he could get;
He could eat on until
He was full to the bill,
And there he had lodgings to let!
Q was a querulous Quail,
Who said: "It will little avail
The efforts of those
Of my foes who propose
To attempt to put salt on my tail!"
R was a ring-tailed Raccoon,
With eyes of the tinge of the moon,
And his nose a blue-black,
And the fur on his back
A sad sort of sallow maroon.
S is a Sculpin—you'll wish
Very much to have one on your dish,
Since all his bones grow
On the outside, and so
He's a very desirable fish.
T was a Turtle, of wealth
Who went round with particular stealth,
"Why," said he, "I'm afraid
Of being waylaid
When I even walk out for my health!"
U was a Unicorn curious,
With one horn, of a growth so LUXURIOUS,
He could level and stab it—
If you didn't grab it—
Clean through you, he was so blamed furious!
V was a vagabond Vulture
Who said: "I don't want to insult yer,
But when you intrude
Where in lone solitude
I'm a-preyin', you're no man o' culture!"
W was a wild WOODchuck,
And you just bet that he COULD "chuck"—
He'd eat raw potatoes,
Green corn, and tomatoes,
And tree roots, and call it all "GOOD chuck!"
X was a kind of X-cuse
Of some-sort-o'-thing that got loose
Before we could name it,
And cage it, and tame it,
And bring it in general use.
Y is the Yellowbird,—bright
As a petrified lump of starlight,
Or a handful of lightning
Bugs, squeezed in the tight'ning
Pink fist of a boy, at night.
Z is the Zebra, of course!—
A kind of a clown-of-a-horse,—
Each other despising,
Yet neither devising
A way to obtain a divorce!
& here is the famous—what-is-it?
Walk up, Master Billy, and quiz it:
You've seen the REST of 'em—
Ain't this the BEST of 'em,
Right at the end of your visit?
At last Billy is sent off to bed. It is the prudent mandate of the old folks: But so loathfully the poor child goes, Bob's heart goes, too.—Yes, Bob himself, to keep the little fellow company for a while, and, up there under the old rafters, in the pleasant gloom, lull him to famous dreams with fairy tales. And it is during this brief absence that the youngest Mills girl gives us a surprise. She will read a poem, she says, written by a very dear friend of hers who, fortunately for us, is not present to prevent her. We guard door and window as she reads. Doc says she will not listen; but she does listen, and cries, too— out of pure vexation, she asserts. The rest of us, however, cry just because of the apparent honesty of the poem of—
BEAUTIFUL HANDS
O your hands—they are strangely fair!
Fair—for the jewels that sparkle there,—
Fair—for the witchery of the spell
That ivory keys alone can tell;
But when their delicate touches rest
Here in my own do I love them best
As I clasp with eager, acquisitive spans
My glorious treasure of beautiful hands!
Marvelous—wonderful—beautiful hands!
They can coax roses to bloom in the strands
Of your brown tresses; and ribbons will twine,
Under mysterious touches of thine,
Into such knots as entangle the soul
And fetter the heart under such a control
As only the strength of my love understands—
My passionate love for your beautiful hands.
As I remember the first fair touch
Of those beautiful hands that I love so much,
I seem to thrill as I then was thrilled,
Kissing the glove that I found unfilled—
When I met your gaze, and the queenly bow
As you said to me, laughingly, "Keep it now!" . . .
And dazed and alone in a dream I stand,
Kissing this ghost of your beautiful hand.
When first I loved, in the long ago,
And held your hand as I told you so—
Pressed and caressed it and gave it a kiss
And said "I could die for a hand like this!"
Little I dreamed love's fullness yet
Had to ripen when eyes were wet
And prayers were vain in their wild demands
For one warm touch of your beautiful hands.
Beautiful Hands!—O Beautiful Hands!
Could you reach out of the alien lands
Where you are lingering, and give me, to-night
Only a touch—were it ever so light—
My heart were soothed, and my weary brain
Would lull itself into rest again;
For there is no solace the world commands
Like the caress of your beautiful hands.
. . . . . . . .
Violently winking at the mist that blurs my sight, I regretfully awaken to the here and now. And is it possible, I sorrowfully muse, that all this glory can have fled away?—that more than twenty long, long years are spread between me and that happy night? And is it possible that all the dear old faces —Oh, quit it! quit it! Gather the old scraps up and wad 'em back into oblivion, where they belong!
Yes, but be calm—be calm! Think of cheerful things. You are not all alone. BILLY'S living yet.
I know—and six feet high—and sag-shouldered— and owns a tin and stove-store, and can't hear thunder! BILLY!
And the youngest Mills girl—she's alive, too.
S'pose I don't know that? I married her!
And Doc.—
BOB married her. Been in California for more than fifteen years—on some blasted cattle-ranch, or something,—and he's worth a half a million! And am I less prosperous with this gilded roll?
A WILD IRISHMAN
Not very many years ago the writer was for some months stationed at South Bend, a thriving little city of northern Indiana. Its population is mainly on the one side of the St. Joseph River, but quite a respectable fraction thereof takes its industrial way to the opposite shore, and there gains an audience and a hearing in the rather imposing growth and hurly-burly of its big manufactories, and the consequent rapid appearance of multitudinous neat cottages, tenement houses and business blocks. A stranger entering South Bend proper on any ordinary day, will be at some loss to account for its prosperous appearance—its flagged and bouldered streets—its handsome mercantile blocks, banks, and business houses generally. Reasoning from cause to effect, and seeing but a meager sprinkling of people on the streets throughout the day, and these seeming, for the most part, merely idlers, and in nowise accessory to the evident thrift and opulence of their surroundings, the observant stranger will be puzzled at the situation. But when evening comes, and the outlying foundries, sewing-machine, wagon, plow, and other "works," together with the paper-mills and all the nameless industries—when the operations of all these are suspended for the day, and the workmen and workwomen loosed from labor—then, as this vast army suddenly invades and overflows bridge, roadway, street and lane, the startled stranger will fully comprehend the why and wherefore of the city's high prosperity. And, once acquainted with the people there, the fortunate sojourner will find no ordinary culture and intelligence, and, as certainly, he will meet with a social spirit and a whole-souled heartiness that will make the place a lasting memory. The town, too, is the home of many world-known people, and a host of local celebrities, the chief of which latter class I found, during my stay there, in the person of Tommy Stafford, or "The Wild Irishman" as everybody called him.
"Talk of odd fellows and eccentric characters," said Major Blowney, my employer, one afternoon, "you must see our 'Wild Irishman' here before you say you've yet found the queerest, brightest, cleverest chap in all your travels. What d'ye say, Stockford?" And the Major paused in his work of charging cartridges for his new breech-loading shotgun and turned to await his partner's response.
Stockford, thus addressed, paused above the shield-sign he was lettering, slowly smiling as he dipped and trailed his pencil through the ivory black upon a bit of broken glass and said, in his deliberate, half absent-minded way,—"Is it Tommy you're telling him about?" and then, with a gradual broadening of the smile, he went on, "Well, I should say so. Tommy! What's come of the fellow, anyway? I haven't seen him since his last bout with the mayor, on his trial for shakin' up that fast-horse man."
"The fast-horse man got just exactly what he needed, too," said the genial Major, laughing, and mopping his perspiring brow. "The fellow was barkin' up the wrong stump when he tackled Tommy! Got beat in the trade, at his own game, you know, and wound up by an insult that no Irishman would take; and Tommy just naturally wore out the hall carpet of the old hotel with him!"
"And then collared and led him to the mayor's office himself, they say!"
"Oh, he did!" said the Major, with a dash of pride in the confirmation; "that's Tommy all over!"
"Funny trial, wasn't it?" continued the ruminating
Stockford.
"Wasn't it though?" laughed the Major. "The porter's testimony: You see, he was for Tommy, of course, and on examination testified that the horseman struck Tommy first. And here Tommy broke in with: 'He's a-meanin' well, yer Honor, but he's lyin' to ye—he's lyin' to ye. No livin' man iver struck me first—nor last, nayther, for the matter o' that!' And I thought—the—court—would—die!" continued the Major, in a like imminent state of merriment.
"Yes, and he said if he struck him first," supplemented Stockford, "he'd like to know why the horseman was 'wearin' all the black eyes, and the blood, and the boomps on that head of um!' And it's that talk that got him off with so light a fine!"
"As it always does," said the Major, coming to himself abruptly and looking at his watch. "Stock, you say you're not going along with our duck-shooting party this time? The old Kankakee is just lousy with 'em this season!"
"Can't go possibly," said Stockford, "not on account of the work at all, but the folks ain't just as well as I'd like to see them, and I'll stay here till they're better. Next time I'll try and be ready for you. Going to take Tommy, of course?"
"Of course! Got to have 'The Wild Irishman' with us! I'm going around to find him now." Then turning to me the Major continued, "Suppose you get on your coat and hat and come along? It's the best chance you'll ever have to meet Tommy. It's late anyhow, and Stockford'll get along without you. Come on."
"Certainly," said Stockford; "go ahead. And you can take him ducking, too, if he wants to go."
"But he doesn't want to go—and won't go," replied the Major with a commiserative glance at me. "Says he doesn't know a duck from a poll-parrot— nor how to load a shotgun—and couldn't hit a house if he were inside of it and the door shut. Admits that he nearly killed his uncle once, on the other side of a tree, with a squirrel runnin' down it. Don't want him along!"
When I reached the street with the genial Major, he gave me this advice: "Now, when you meet Tommy, you mustn't take all he says for dead earnest, and you mustn't believe, because he talks loud, and in italics every other word, that he wants to do all the talking and won't be interfered with. That's the way he's apt to strike folks at first—but it's their mistake, not his. Talk back to him—controvert him whenever he's aggressive in the utterance of his opinions, and if you're only honest in the announcement of your own ideas and beliefs, he'll like you all the better for standing by them. He's quick-tempered, and perhaps a trifle sensitive, so share your greater patience with him, and he'll pay you back by fighting for you at the drop of the hat. In short, he's as nearly typical of his gallant country's brave, impetuous, fun-loving race as one man can be."
"But is he quarrelsome?" I asked.
"Not at all. There's the trouble. If he'd only quarrel there'd be no harm done. Quarreling's cheap, and Tommy's extravagant. A big blacksmith here, the other day, kicked some boy out of his shop, and Tommy, on his cart, happened to be passing at the time; and he just jumped off without a word, and went in and worked on that fellow for about three minutes, with such disastrous results that they couldn't tell his shop from a slaughter-house; paid an assault and battery fine, and gave the boy a dollar besides, and the whole thing was a positive luxury to him. But I guess we'd better drop the subject, for here's his cart, and here's Tommy. Hi! there, you 'Fardown' Irish Mick!" called the Major, in affected antipathy, "been out raiding the honest farmers' hen-roosts again, have you?"
We had halted at a corner grocery and produce store, as I took it, and the smooth-faced, shaven- headed man in woolen shirt, short vest, and suspenderless trousers so boisterously addressed by the Major, was just lifting from the back of his cart a coop of cackling chickens.
"Arrah! ye blasted Kerryonian!" replied the handsome fellow, depositing the coop on the curb and straightening his tall, slender figure; "I were jist thinkin' of yez and the ducks, and here ye come quackin' into the prisence of r'yalty, wid yer canvas- back suit upon ye and the schwim-skins bechuxt yer toes! How air yez, anyhow—and air we startin' for the Kankakee by the nixt post?"
"We're to start just as soon as we get the boys together," said the Major, shaking hands. "The crowd's to be at Andrews' by four, and it's fully that now; so come on at once. We'll go 'round by Munson's and have Hi send a boy to look after your horse. Come; I want to introduce my friend here to you, and we'll all want to smoke and jabber a little in appropriate seclusion. Come on." And the impatient Major had linked arms with his hesitating ally and myself, and was turning the corner of the street.
"It's an hour's work I have yet wid the squawkers," mildly protested Tommy, still hanging back and stepping a trifle high; "but, as one Irishman would say til another, 'Ye're wrong, but I'm wid ye!' "
And five minutes later the three of us had joined a very jolly party in a snug back room, with
"The chamber walls depicted all around
With portraitures of huntsman, hawk, and hound,
And the hurt deer;"
and where, as well, drifted over the olfactory intelligence a certain subtle, warm-breathed aroma, that genially combated the chill and darkness of the day without, and, resurrecting long-dead Christmases, brimmed the grateful memory with all comfortable cheer.
A dozen hearty voices greeted the appearance of Tommy and the Major, the latter adroitly pushing the jovial Irishman to the front, with a mock-heroic introduction to the general company, at the conclusion of which Tommy, with his hat tucked under his left elbow, stood bowing with a grace of pose and presence Lord Chesterfield might have applauded.
"Gintlemen," said Tommy, settling back upon his heels and admiringly contemplating the group; "gintlemen, I congratu-late yez wid a pride that shoves the thumbs o' me into the arrum-holes of me weshkit! At the inshtigation of the bowld O'Blowney— axin' the gintleman's pardon—I am here wid no silver tongue of illoquence to para-lyze yez, but I am prisent, as has been ripresinted, to jine wid yez in a stupendous waste of gunpowder, and duck- shot, and 'high-wines,' and ham sandwiches, upon the silvonian banks of the ragin' Kankakee, where the 'di-dipper' tips ye good-by wid his tail, and the wild loon skoots like a sky-rocket for his exiled home in the alien dunes of the wild morass—or, as Tommy Moore so illegantly describes the blashted birrud,—
'Away to the dizhmal shwamp he spheeds—
His path is rugged and sore
Through tangled juniper, beds of reeds
And many a fen where the serpent feeds,
And birrud niver flew before—
And niver will fly any more'
if iver he arrives back safe into civilization again— and I've been in the poultry business long enough to know the private opinion and personal integrity of ivery fowl that flies the air or roosts on poles. But, changin' the subject of my few small remarks here, and thankin' yez wid an overflowin' heart but a dhry tongue, I have the honor to propose, gintlemen, long life and health to ivery mother's son o' yez, and success to the 'Duck-hunters of Kankakee.' "
"The duck-hunters of the Kankakee!" chorused the elated party in such musical uproar that for a full minute the voice of the enthusiastic Major who was trying to say something—could not be heard. Then he said:
"I want to propose that theme—'The Duck- hunters of the Kankakee', for one of Tommy's improvisations. I move we have a song now from Tommy on 'The Duck Hunters of the Kankakee.' "
"Hurrah! Hurrah! A song from Tommy," cried the crowd. "Make us up a song, and put us all into it! A song from Tommy! A song! A song!"
There was a queer light in the eye of the Irishman. I observed him narrowly—expectantly. Often I had read of this phenomenal art of improvised ballad-singing, but had always remained a little skeptical in regard to the possibility of such a feat. Even in the notable instances of this gift as displayed by the very clever Theodore Hook, I had always half suspected some prior preparation—some adroit forecasting of the sequence that seemed the instant inspiration of his witty verses. Here was evidently to be a test example, and I was all alert to mark its minutest detail.
The clamor had subsided, and Tommy had drawn a chair near to and directly fronting the Major's. His right hand was extended, closely grasping the right hand of his friend which he scarce perceptibly, though measuredly, lifted and let fall throughout the length of all the curious performance. The voice was not unmusical, nor was the quaint old ballad-air adopted by the singer unlovely in the least; simply a monotony was evident that accorded with the levity and chance-finish of the improvisation—and that the song was improvised on the instant I am certain—though in nowise remarkable, for other reasons, in rhythmic worth or finish. And while his smiling auditors all drew nearer, and leant, with parted lips to catch every syllable, the words of the strange melody trailed unhesitatingly into the line; literally, as here subjoined:
"One gloomy day in the airly Fall,
Whin the sunshine had no chance at all—
No chance at all for to gleam and shine
And lighten up this heart of mine:
" 'Twas in South Bend, that famous town,
Whilst I were a-strollin' round and round,
I met some friends and they says to me:
'It's a hunt we'll take on the Kankakee!' "
"Hurrah for the Kankakee! Give it to us, Tommy!" cried an enthusiastic voice between verses. "Now give it to the Major!" And the song went on:
"There's Major Blowney leads the van,
As crack a shot as an Irishman,—
For it's the duck is a tin decoy
That his owld shotgun can't destroy:"
And a half-dozen jubilant palms patted the Major's shoulders, and his ruddy, good-natured face beamed with delight. "Now give it to the rest of 'em, Tommy!" chuckled the Major. And the song continued:—
"And along wid 'Hank' is Mick Maharr,
And Barney Pince, at 'The Shamrock' bar—
There's Barney Pinch, wid his heart so true;
And the Andrews Brothers they'll go too."
"Hold on, Tommy!" chipped in one of the Andrews; "you must give 'the Andrews Brothers' a better advertisement than that! Turn us on a full verse, can't you?"
"Make 'em pay for it if you do!" said the Major in an undertone. And Tommy promptly amended.—
"O, the Andrews Brothers, they'll be there,
Wid good se-gyars and wine to sphare,—
They'll treat us here on fine champagne,
And whin we're there they'll treat us again."
The applause here was vociferous, and only discontinued when a box of Havanas stood open on the table. During the momentary lull thus occasioned, I caught the Major's twinkling eyes glancing evasively toward me, as he leaned whispering some further instructions to Tommy, who again took up his desultory ballad, while I turned and fled for the street, catching, however, as I went, and high above the laughter of the crowd, the satire of this quatrain to its latest line.
"But R-R-Riley he'll not go, I guess,
Lest he'd get lost in the wil-der-ness,
And so in the city he will shtop
For to curl his hair in the barber shop."
It was after six when I reached the hotel, but I had my hair trimmed before I went in to supper. The style of trimming adopted then I still rigidly adhere to, and call it "the Tommy Stafford stubble- crop."
Ten days passed before I again saw the Major. Immediately upon his return—it was late afternoon when I heard of it—I determined to take my evening walk out the long street toward his pleasant home and call on him there. This I did, and found him in a wholesome state of fatigue, slippers and easy chair, enjoying his pipe on the piazza. Of course, he was overflowing with happy reminiscences of the hunt—the wood-and-water-craft— boats—ambushes—decoys, and tramp, and camp, and so on, without end;—but I wanted to hear him talk of "The Wild Irishman"—Tommy; and I think, too, now, that the sagacious Major secretly read my desires all the time. To be utterly frank with the reader I will admit that I not only think the Major divined my interest in Tommy, but I know he did; for at last, as though reading my very thoughts, he abruptly said, after a long pause, in which he knocked the ashes from his pipe and refilled and lighted it:—"Well, all I know of 'The Wild Irishman' I can tell you in a very few words—that is, if you care at all to listen?" And the crafty old Major seemed to hesitate.
"Go on—go on!" I said eagerly.
"About forty years ago," resumed the Major placidly, "in the little, old, unheard-of town Karnteel, County Tyrone, Province Ulster, Ireland, Tommy Stafford was fortunate enough—despite the contrary opinion on that point of his wretchedly poor parents—to be born. And here, again, as I advised you the other day, you must be prepared for constant surprises in the study of Tommy's character."
"Go on," I said; "I'm prepared for anything."
The Major smiled profoundly and continued:—
"Fifteen years ago, when he came to America— and the Lord only knows how he got the passage— money—he brought his widowed mother with him here, and has supported, and is still supporting her. Besides," went on the still secretly smiling Major, "the fellow has actually found time, through all his adversities, to pick up quite a smattering of education, here and there—"
"Poor fellow!" I broke in sympathizingly, "what a pity it is that he couldn't have had such advantages earlier in life," and as I recalled the broad brogue of the fellow, together with his careless dress, recognizing beneath it all the native talent and brilliancy of a mind of most uncommon worth, I could not restrain a deep sigh of compassion and regret.
The Major was leaning forward in the gathering dusk, and evidently studying my own face, the expression of which, at that moment, was very grave and solemn, I am sure. He suddenly threw himself backward in his chair, in an uncontrollable burst of laughter. "Oh, I just can't keep it up any longer," he exclaimed.
"Keep what up?" I queried, in a perfect maze of bewilderment and surprise. "Keep what up?" I repeated.
"Why, all this twaddle, farce, travesty and by- play regarding Tommy! You know I warned you, over and over, and you mustn't blame me for the deception. I never thought you'd take it so in earnest!" and here the jovial Major again went into convulsions of laughter.
"But I don't understand a word of it all," I cried, half frenzied with the gnarl and tangle of the whole affair. "What 'twaddle, farce and by-play,' is it, anyhow?" And in my vexation, I found myself on my feet and striding nervously up and down the paved walk that joined the street with the piazza, pausing at last and confronting the Major almost petulantly. "Please explain," I said, controlling my vexation with an effort.
The Major arose. "Your striding up and down there reminds me that a little stroll on the street might do us both good," he said. "Will you wait until I get a coat and hat?"
He rejoined me a moment later, and we passed through the open gate; and saying, "Let's go down this way," he took my arm and turned into a street, where, cooling as the dusk was, the thick maples lining the walk seemed to throw a special shade of tranquillity upon us.
"What I meant was"—began the Major in a low serious voice,—"What I meant was—simply this: Our friend Tommy, though the truest Irishman in the world, is a man quite the opposite every way of the character he has appeared to you. All that rich brogue of his is assumed. Though he was poor, as I told you, when he came here, his native quickness, and his marvelous resources, tact, judgment, business qualities—all have helped him to the equivalent of a liberal education. His love of the humorous and the ridiculous is unbounded; but he has serious moments, as well, and at such times is as dignified and refined in speech and manner as any man you'd find in a thousand. He is a good speaker, can stir a political convention to highest excitement when he gets fired up; and can write an article for the press that goes spang to the spot. He gets into a great many personal encounters of a rather undignified character; but they are almost invariably bred of his innate interest in the 'under dog,' and the fire and tow of his impetuous nature."
My companion had paused here, and was looking through some printed slips in his pocketbook. "I wanted you to see some of the fellow's articles in print, but I have nothing of importance here only some of his 'doggerel,' as he calls it, and you've had a sample of that. But here's a bit of the upper spirit of the man—and still another that you should hear him recite. You can keep them both if you care to. The boys all fell in love with that last one, particularly, hearing his rendition of it. So we had a lot printed, and I have two or three left. Put these two in your pocket and read them at your leisure."
But I read them there and then, as eagerly, too, as I append them here and now. The first is called—
SAYS HE "Whatever the weather may be," says he—
"Whatever the weather may be
It's plaze, if ye will, an' I'll say me say,—
Supposin' to-day was the winterest day,
Wud the weather be changing because ye cried,
Or the snow be grass were ye crucified?
The best is to make your own summer," says he,
"Whatever the weather may be," says he—
"Whatever the weather may be!
"Whatever the weather may be," says he—
"Whatever the weather may be,
It's the songs ye sing, an' the smiles ye wear,
That's a-makin' the sun shine everywhere;
An' the world of gloom is a world of glee,
Wid the bird in the bush, an' the bud in the tree,
An' the fruit on the stim of the bough," says he,
"Whatever the weather may be," says he—
"Whatever the weather may be!
"Whatever the weather may be," says he—
"Whatever the weather may be,
Ye can bring the Spring, wid its green an' gold,
An' the grass in the grove where the snow lies cold;
An' ye'll warm yer back, wid a smiling face,
As ye sit at yer heart, like an owld fireplace,
An' toast the toes o' yer sowl," says he,
"Whatever the weather may be," says he—
"Whatever the weather may be!"
"Now," said the Major, peering eagerly above my shoulder, "go on with the next. To my mind, it is even better than the first. A type of character you'll recognize.—The same 'broth of a boy,' only AMERICANIZED, don't you know."
And I read the scrap entitled—
CHAIRLEY BURKE It's Chairley Burke's in town, b'ys! He's down til "Jamesy's
Place,"
Wid a bran'-new shave upon 'um, an' the fhwhuskers aff his face;
He's quit the Section-Gang last night, and yez can chalk it down
There's goin' to be the divil's toime, sence Chairley Burke's in
town.
It's treatin' iv'ry b'y he is, an' poundin' on the bar
Till iv'ry man he's drinkin' wid must shmoke a foine cigar;
An' Missus Murphy's little Kate, that's coomin' there for beer,
Can't pay wan cint the bucketful, the whilst that Chairley's
here!
He's joompin' oor the tops o' sthools, the both forninst an'
back!
He'll lave yez pick the blessed flure, an' walk the straightest
crack!
He's liftin' barrels wid his teeth, and singin "Garry Owen,"
Till all the house be strikin' hands, sence Chairley Burke's in
town.
The Road-Yaird hands coomes dhroppin' in, an' niver goin' back;
An' there's two freights upon the switch—the wan on aither
track—
An' Mr. Gearry, from The Shops, he's mad enough to swear,
An' durstn't spake a word but grin, the whilst that Chairley's
there!
Och! Chairley! Chairley! Chairley Burke! ye divil, wid yer ways
O' dhrivin' all the throubles aff, these dhark an' ghloomy days!
Ohone! that it's meself, wid all the graifs I have to dhrown,
Must lave me pick to resht a bit, sence Chairley Burke's in
town.
"Before we turn back, now," said the smiling Major, as I stood lingering over the indefinable humor of the last refrain, "before we turn back I want to show you something eminently characteristic. Come this way a half-dozen steps."
As he spoke I looked up, first to observe that we had paused before a handsome square brick residence, centering a beautiful smooth lawn, its emerald only littered with the light gold of the earliest autumn leaves. On either side of the trim walk that led up from the gate to the carved stone ballusters of the broad piazza, with its empty easy chairs, were graceful vases, frothing over with late blossoms, and wreathed with laurel-looking vines; and, luxuriantly lacing the border of the pave that turned the farther corner of the house, blue, white and crimson, pink and violet, went fading away in perspective as my gaze followed the gesture of the Major's.
"Here, come a little farther. Now do you see that man there?"
Yes, I could make out a figure in the deepening dusk—the figure of a man on the back stoop—a tired-looking man, in his shirt-sleeves, who sat upon a low chair—no, not a chair—an empty box. He was leaning forward with his elbows on his knees, and the hands dropped limp. He was smoking, too, I could barely see his pipe, and but for the odor of very strong tobacco, would not have known he had a pipe. Why does the master of the house permit his servants so to desecrate this beautiful home? I thought.
"Well, shall we go now?" said the Major.
I turned silently and we retraced our steps. I think neither of us spoke for the distance of a square.
"Guess you didn't know the man there on the back porch?" said the Major.
"No; why?" I asked dubiously.
"I hardly thought you would, and besides the poor fellow's tired, and it was best not to disturb him," said the Major.
"Why; who was it—some one I know?"
"It was Tommy."
"Oh," said I inquiringly, "he's employed there in some capacity?"
"Yes, as master of the house."
"You don't mean it?"
"I certainly do. He owns it, and made every cent of the money that paid for it!" said the Major proudly. "That's why I wanted you particularly to note that 'eminent characteristic' I spoke of. Tommy could just as well be sitting, with a fine cigar, on the front piazza in an easy chair, as, with his dhudeen, on the back porch, on an empty box, where every night you'll find him. It's the unconscious dropping back into the old ways of his father, and his father's father, and his father's father's father. In brief, he sits there the poor lorn symbol of the long oppression of his race."