Chapter III · THE INGENIOUS-ASTONISHING GROUP (continued 2)

While the two friends were walking slowly along the street, for there were many people out, their attention was very curiously attracted by the appearance of a scrawny young man, who came mincing by them. They stopped beside a telegraph post, while the young man went on, meeting a friend at a short distance, to whom he said, "Hallo, Tetoy (Aniceto). Donde vamus you?" "Hallo, Balatong," replied the friend. The rest of their conversation went on in a low tone in their peculiar dialect. Busyong and Islao overheard only their slipshod greetings.

"Islao, who is that man—that one who wears the hat with a wide ribbon whose colors are light blue and green, and black with white stripes resembling the skin of a skunk?" inquired Busyong.

"What man? Excuse me, I was looking at somebody else," said Islao. "Do you mean that one who wears a bright red, yellow, and green——"

"Crumpled small fish net around his collar I should say; yes, exactly, that one. Who's he?"

"Ha, ha, ha; oh, yes. He is one of the suitors of the girl who lives in front of our house. Balatong, I think is his name."

"Aha, the one who cackled last night, as your father said?"

"I don't know," laughing.

"And that other one with cross eyes, whose trousers are folded up five times, I think, showing his stockings, which are like the tidies of a chair back—who's he?"

"Who? That one who wears broad ribbon-like strings on his shoes? I don't know him. Don't you think he looks like a woman—I mean both of them—with their way of dressing? Aha, one of them—not the cross-eyed—has powder on his face, I think."

"Oh, yes, yes. You know, in my native country in the planet Earth only women are fond of and use such gaudy colors and such kind of stockings; and, indeed, they are only proper for women. But we used to——"

"But that's not all here; the worst is when these people use stockings—as I have had occasion to notice many times—stockings which are elaborately ornamented with the queerest fantastic designs; such as a burning dainty heart, a dove carrying a bunch of dama de noche with its toes—rather, a falcon or vulture I should say—great goodness!—make the dove carry a flower in its claws!"

"Aha, is that so? Why, thanks to goodness, in my native land no such queer people are to be found now, except very, very few. There used to be—but do you know what we call them in pure, simple Tagalog? We call them binabae; that is a bit worse than the English term 'sissy.' But from your own experience, tell me, Islao, what living being other than man have you observed making such a liberal display of gaudy colors in that most affected manner?"

"Why, among plants you mean? Like the parasite with beautifully colored flowers hanging on that window?"

"Well, not so low in the organic world as that," laughing heartily. "I don't mean a plant; I mean——"

"Oh, I get your point. You mean among birds like the gayly colored rooster of that man who is now hawking in that store, don't you?"

"Exactly, upon my wish, you have slipped from your tongue what I was precisely going to say."

"And I think you know why the birds, most especially the males, do have such bright colors."

"Why, yes; I suppose those smart young men have the same view in mind as that of the male birds, and meditate and dream that it is 'not proper at all for a man to be alone,' as, thinking of Priscilla, Miles Standish would say."

"Possibly, possibly," laughing. Islao did not understand the allusion, but he let it pass.

"Now be careful; don't speak loud," whispered Busyong.

Presently the two friends who were the object of Busyong and Islao's rather severe remarks shuffled towards Busyong and Islao, stopping near the telegraph post beside them. The two chums were going to separate when one of them, the cross-eyed, jabbered, "Oh, you teni espijo, ah? Porque? You ajos malo, eh?"

A sudden insuppressible peal of laughter was heard from Busyong and Islao, who soon tried to act as if they did not hear the blunder.

"Cosa ajos? Am no cook as you," said the other grinning over his glasses a little more easily than the first one.

"Cosa esti?" asked the cross-eyed one, pointing to his eyes with his dirty-nailed finger.

"T'at is call 'esquinting eyes.'"

"Ah, yes. Porque got espijo you, esquinting ais?"

"Oh, you don' know its value; t'at is to add weight," erecting his body and raising his low chest, but forgetting that the other had called him cross-eyed.

Their gabble would have lasted longer if it were not for two ladies who passed between them. Balatong, as the young man who wore spectacles was called, started to mince along the busy street, scowling at Busyong and at Islao, who were suppressing their laughter as best they could, as he strutted before them. In a few moments Busyong and Islao began also to move about, and soon kept pace with two bald-headed men who happened to be walking the street in the same direction as theirs. Presently, one of the old men observed Balatong, who was peering at and caressing with a handkerchief one of his tapped shoes which had been stepped upon by a "brat," to use his own expression, as he had struggled along, distorting carefully his body to force a way through an idle crowd. Then in a sarcastic but indignant manner and forgetting what his companion was speaking about, the man said, "Oh, look at that Enigo. See how the lower edge of his long cloak flaps like a sail battered by the wind!"

"No," said the other old man, "that is not a cloak, but a plain coat."

"Well, I thought it was a cloak like those used by the people in the neighboring continent in time of cold weather. That's the reason why I said he was Enigo, for he uses a cloak now when it is warm, and I suppose he would use light clothes when it is cold."

"That is the fashion they say—and the latest one, too."

"Go to, the fashion!"

Meanwhile Busyong nudged Islao and whispered close to his ear, "Did you hear what these old men were talking about?"

Islao nodded, smiling.

Then the two old men climbed into a vehicle very much like a carretela, and drove away. Busyong and Islao went into a saloon of fresh drinks and asked for a refreshment similar to milkshake.

"The owner of this saloon is a woman, according to the signboard at the door," remarked Busyong.

"Yes," said Islao, smiling; "I am sorry to say."

In the meantime Balatong stopped in front of a dry goods store on the opposite sidewalk and began to ruminate on his image as reflected in the glass of a counter, and at times twitched his scrawny body. Busyong and Islao were observing him. After a while a clerk of the store opened the door of the counter and turned a button on the back of a puppet, which hereto had been unnoticed by Balatong. Soon the dainty hands of the puppet, which were raised in front of its small breast, began to move back and forth, especially the delicate fingers, as if the whole figure had come to life. Balatong looked at the doll rather pleased at first. But when he noticed the remarkable similarity of all the clothes of the puppet with his own clothes, he began to be aroused and to feel offended, insomuch that he could not help going into the store to complain. He approached the man who had made the hands of the puppet move and called him to come outside. The man, who thought that he was going to show something on the counter which he wished to buy, followed him obediently. They stuttered in their native tongue, which ran thus in English:

"I think that that puppet is intended to offend me, because it is dressed exactly in the same way as I am; that is, with the same clothes, necktie, and hat, which I bought from this very store some time ago. However, you have willfully—made—the—pup—pup—pup—pet—move its hands in such a way as that—pointing to himself and then to me—that is as much as to say I am a puppet," said Balatong, who began to be angry with the man, who was laughing candidly.

The man went back into the store, shrugging his square shoulders and paying no attention to the complaint of Balatong. Balatong insisted, squalling at the door in an aggressive attitude, "Aren't you goin' to take 'way the puppet from t'at counter?"

"E ko visa," muttered the clerk in his native dialect as he was dusting the chairs in the store.

Presently Busyong and Islao, who all this while had been mute spectators of the fray, came out of the saloon with a view to settle the dispute peacefully and justly, for, after all, they pitied Balatong, who, they thought, had got now into an inextricable strait. Islao, who could speak a little the peculiar dialect of the clerk, addressed the clerk confidentially in his own tongue, asking him what was the matter. The man answered in the same language which Busyong understood thus: "Why, this friend orders me to remove the puppet from that counter; for he says that he is not pleased with it."

"Well, well, is that the whole cause of this fuss?" asked Busyong, smiling.

Meanwhile Balatong was setting forth to Islao earnestly all his complaint with many, many studied complicated movements of both hands and body. Islao waited for him to finish stuttering, for he wanted to talk with him. Then, suspecting from the tone of his voice a smack of Kamkangan blood in Balatong, Islao thought it best to feign comradeship for the sake of persuading him to behave in a more manly way. So, when Balatong had finished jabbering, Islao addressed him in the most friendly manner, saying laconically, "Abe, e ka makisankut ketang é mo balú.[2]"

Upon hearing these words, which he at first pretended not to have understood, Balatong suddenly became excited and perplexed. He gnashed his widely separated teeth, clenched his fists, and looked up into Islao's face with fiery eyes, saying, "Why d'you insult an' curse me? If I ha-have done wron', show me how; an' if not, qua de causa?"

Busyong and Islao smiled pityingly and ironically instead of being offended. On the other hand, bursting into a peal of laughter, the juvenile clerk said jocosely in a sort of Kamkanga dialect the following: "Aroo, our abe is an evangelical man—fine!—nay, he is a priest. How was it?—qua re cosa—ha, ha, ha."

Balatong became the more angry with the clerk inasmuch as he saw that the clerk was poking fun at him.

"I don' want to be the laughing stock of anybody," said Balatong indignantly.

"Don't be touchy, abe," said the clerk in his own dialect.

All of a sudden the exasperated Balatong seized a big stone from the street and dashed it against the glass of the counter, which broke into a thousand pieces. The people of the store and some passers-by were alarmed at the violent action of Balatong. Presently a robust old man came hurriedly shuffling with his wooden shoes towards Balatong, and would have strangled him were it not for the opportune presence of a fat man who was one of the idle crowd that had been gathering at the door of the shop.

The fat man, who was carrying under his arm two large scissors in a folded white coat, interposed himself between the aggressor and Balatong, saying in dialect, "For the sake of our beloved country! Don't behave that way, fellow patriot! Don't, especially with one of the same skin as yours and in whose veins runs the same pure blood as that of yours. For the noblest ideal of our Talukap[3] party, countrymen, bethink yourselves!"

"Surely," replied the old man, whose anger was appeased by the slushy encomium of the intruder. "But this fellow here does not seem to be like a true native of this country, for look at what he has done with that counter, simply because he says he isn't pleased with that puppet there."

"Well, well," said in a friendly manner the intruder as he faced Balatong, "why do you behave that way?"

"Sherup! don' interfere with me; you had better mind only your incisors," retorted Balatong, imitating with his bony fingers the movement of the scissors he meant.

Busyong and Islao suddenly burst into prolonged laughter, while the rest remained silent drivelling with wide-opened mouths as they beheld the two men laughing heartily.

"Do you see! This friend is angry with me according to the tone of his voice. What did he say?" asked the fat man turning towards Busyong and Islao.

Islao nudged Busyong to get him to come out of the store.

"Come, come, let us go home, lest we hurt with our laughing their susceptible feelings, especially of that young dandy—pardon me, I mean doctor," said Islao aside to Busyong when they reached the corner of a street and turned to the left.

"O Momus, son of Mox!" exclaimed Busyong smiling after a short time, "how jocund indeed must you be with the people here!"

"Surely, he must be," said Islao.

"By the way, I remember that the tailor—that is, the fat man—seemed to boast a political party."

"Oh, yes!"

"What is that party?"

"It is called the National Talukap Party. You know, this country is a democracy in name, but an oligarchy in fact, as the people here say, for the government is in the hands of only a very few of the native countrymen; most of the power is in foreign hands. So the Talukap party aims to reverse the condition of things; nay, to have the control of the government wholly in the hands of the people of this country. I am warmly in favor of this policy. But what I do find objectionable in this Talukap party is their affectation and tautology, and their pretension and empty show in their outward conduct. For my part, I believe in doing things silently but effectively. On the other hand, I am not in favor of the other party, which is called the National Kinagisnan Party, whose policy is to be contented slavishly with the present condition of things or with whatever condition for the time being. The people who belong to this Kinagisnan party are very few in comparison with those that belong to the Talukap party. Being in very close contact with the sovereign, the Kinagisnan people are very apt to become flatterers."

"Moreover, the ideal of your Talukap party, I think, becomes less feasible, if not impossible, when you consider these dandies like those two chums over there who are clasping one another by the waist. Indeed, they live in a very peculiar world by themselves."

"And with Momus, I suppose, as their Supreme Being."

"Ha, yes, I should think so, too. But after all they are not to be blamed. Everything goes step by step. Even my native country in the planet Earth has had the same defects practically as these people here. Now I am glad that there in my native land the people, especially the young men, have reached, by education and the bitter lesson of experience, of course, a stage where their old views of the world have become greatly changed, most especially in this respect: now they hate affectation under any form whatever, whether in dress, manners, knowledge or in deeds."

"Why, that is a condition to be envied greatly."

By this time the two friends, Busyong and Islao, were standing in front of the farmer's house. The old man and his wife were awaiting them in order that all might dine together. The rest of the day glided by pleasantly.

Next morning Busyong decided to return to the planet Earth, although the old farmer and his son tried to delay him longer in Jupiter. He promised to come back to them. While in his large balloon, and recollecting vividly all the things he had observed in the country he was leaving, Busyong let his mind run upon the following ancient lines:

Just then he remembered with a start that when he had begun to crank his balloon he had taken out his sound assorters and laid them on the edge of the car. He had wanted to hear the familiar noise without distribution in order to feel that all was safe. And now when he looked for those precious assorters he could not find them. They must have fallen overboard. And worst of all, he had neglected to get the whole explanation from the Jupiterite.

—Manuel Candido.

III. Tale of Scientific Discovery and Mechanical Invention

Beginning in imaginary voyages

Tales of scientific discovery and mechanical invention appeal to us as being extremely modern. Yet the essential elements had a beginning at least two centuries and a half ago. The quality of the marvelous is easy enough to trace; and the logicalness hardly less so. We find both in the imaginary voyages. De Bergerac discovers that he can lift himself from the earth by the expansion of phials of dew affixed to his person, and from this experiment he goes on to invent an elastic machine which bears him to the moon. Klim, too, arrives at his wonderful adventures by a scientific beginning: he sets out to explore a rocky orifice in the Weathercock Mountain, and causes himself to be let down by a rope. The rope snaps, and he is precipitated into an intra-terrestrial astral system, where he begins immediately to revolve around a planet Azar, his biscuits which he had attempted to throw away performing meanwhile an orbit around his own body. He alights, of course, finally by accident, and goes on with his governmental experiences.

Difference one of emphasis

These learned elements in the imaginary voyages point definitely to our modern stories. The difference lies in the emphasis: our modern stories are severely and consistently logical, and interest centers in the machine or the scientific theory. The reader does not ask to go on long journeys to see chimeras, but he asks to see ultra-logical man. He does not encourage the author in being satiric; he wants him to be inventive, to be more ingenious than the race has been. The reader wants the author to show him what man would be if he were consistently progressive and wise, what he would come to if he worked day and night at his science and applied what he learned,—indeed, what he already knows. For it is an open secret in the scientific world that there is hardly a wonderful modern machine that is not an almost foolishly simple application of a well-known law. Take our marvelous future trains, for instance, that are to run on one rail and be as wide and commodious as houses—they are but to follow a principle that every school-boy sees in operation when he spins a top. I dare say, if some person would only write a story telling us where to affix the wheel and the balance, we might convert our present houses into private Pullmans, as it were, that could at any time transport us, family and all, with everyone of our personal and familiar conveniences intact therein, to any spot we chose, the only extra expense to us for each trip being a slight rent for wheel space for the time that we were running over the single-rail track that led thitherward.

Essential elements

Shading off from the imaginary voyage type, therefore, is this modern one which I have designated by the somewhat long title, tales of scientific discovery and mechanical invention. By this title I mean to distinguish stories in which the occurrences, though startling, are perfectly logical in sequence, granted the premise—extraordinary, but not improbable under the conditions set forth. The words discovery and mechanical express the fact that the sustaining structure of a story such as these is often some invention superimposed upon modern science. In the use of electricity, for instance, the characters in the narrative go one step further than Mr. Edison; in the construction and operation of the flying-machine, several steps further than the Wright brothers; in the discovery of elements, someone finds something more useful and of greater power than radium; or, after long experimenting, he mixes a paint so black or so white that the object beneath it becomes invisible; and so on and so on—but all plausible, all with precise truth-likeness.

Stories of this type

Many of our present-day magazine stories are of this type. Of the earlier modern, the "Diamond Lens" by Fitz-James O'Brien is interesting. "The Spider's Eye" is still sometimes read. "The Life Magnet" is well known. A burlesque verse tale of mechanical invention is "The Wonderful One Hoss Shay" by Oliver Wendell Holmes. The prince of all ingenious story-tellers, however, is Frank R. Stockton.

To construct a narrative of this class, you must of course first get your underlying theory. Experiments in the chemical and physical laboratory will afford many a starting point. They will at least suggest the realm in which to proceed. Astronomy, meteorology, geology, mechanics, mineralogy, geometry, optics, domestic science even,—select a simple problem in any of these and begin to imagine.

Suggestions on how to write the type

After you have the starting point, it is a good idea to fix your goal. Where should you like to go, what should you like to do, what powers should you like to have above those of your fellows? Do you wish to overcome the restrictions of distance, absence, darkness, death, birth, poverty, the past, the future, the present?

With these points of your theory settled, you must then look to the course of events. Shall the incidents befall you while discovering or while applying the scientific fact, while constructing or while working your machine? Shall you be looking forward or shall you be looking back upon the events? Next you must find the point of greatest stress. The climax of a story with the first alternative will evidently be reached at the culmination of the inventor's labors; with the second alternative, at the most exciting adventure in the use of the machine or in the direct application of the scientific fact.

The logical close of the story is in both cases the disappearance of the machine or the scientist; but you will be repaid by thinking carefully over this matter and being here as elsewhere as ingenious and original as you can.

Your deductions must appear to be sound. Of course, your reasoning may have to be largely specious and in the gross, as it were, unless you are a better inventor than the inventors. But you have this advantage over the practical man: you can avoid the greater difficulties by keeping silent about them; and for actual achievement you can substitute assertion. You must seem on the surface, however, to be perfectly logical. The reader will not question you too closely, if you are only spirited and entertaining. But the next is a point that you must note without fail.

If the reader's interest in any particular part of your narrative will depend upon an understanding of a bit of mechanism or a scientific theory, you must be careful to supply the information beforehand. However trite to a mechanic or a scientist the principle may be, you must not assume that the casual reader knows it. He probably does not know it, or if he does, more than likely he has forgotten it. On the other hand, you must not appear to be self-assertively instructing him. What you can do is this: you can politely seem to be recalling something to his memory, and can thus make the point clear, so that your future use of it will not fall flat.

To add a semblance of reality, it will be permissible to employ a few technical terms; but these also must be indisputably clear in meaning, and their use must not be pedantic. You should study, however, to put into the mouths of your characters the vocabulary that would be actually used by the kind of people you represent.

Genial humor is a fine asset to a writer of this type of narrative. If you can be artistically serious and philosophically gay at the same time you will not fail to please. The relationship of stories of scientific discovery and mechanical invention to imaginary voyages is testified to by the reader's expectation of a display of wit. But in the scientific, ridicule is softened down to genial logic. Although the aim in this kind of narrative is good construction rather than character-sketching, yet every neat touch of portraiture that you can add will help draw your composition away from the mere exercise and toward the literary production.

If you should choose your theory in the realm of art, you would by that very choice raise your story above the ordinary—I mean to say, of course, you would if you knew anything about art. Mr. Alexander Wilson Drake knows a great deal about art and has given us, besides many other beautiful surprises in Saint Nicholas and the Century, some narratives embodying exquisite theories of shadow and color.

The Curious Vehicle

Reprinted by permission of the Century Company.

It was midnight in early December. A dense silver mist hid the sleeping city, the street-lamps gave a faint yellow glimmer through the almost impenetrable gloom, the air was like the cold breath from the dying, the fog hanging in great drops on my clothing. Stray policemen had taken refuge in sheltering doorways, and my own footsteps echoed with unfamiliar and uncanny sound down the long street—the only sound that broke the midnight stillness, save the hoarse whistles of wandering and belated ferryboats on the distant river.

As I emerged from a narrow street into the main thoroughfare, my shivering attention was attracted to a curious covered vehicle standing in the bright glare of an electric light. It was neither carriage nor wagon, but an odd, strongly made affair, painted olive green, with square windows in the sides, reaching from just above the middle of the roof, and a smaller window in the back near the top. On each side of the middle window were two panels of glass. From the middle window only a dim light shone, like the subdued light from a nurse's lamp. On the seat in front, underneath a projecting hood, sat a little old black man wrapped in a buffalo-robe and a great fur coat partly covered with a rubber cape or mackintosh, and with a fur cap pulled down over his ears. The horse was heavily blanketed, and also well protected with rubber covers. Both man and beast waited with unquestioning patience. Both seemed lost in reverie or sleep.

With chattering teeth I stood, wondering what could be going on in that queer box-like wagon at that time of night. The silence was oppressive. There stood the dimly lighted wagon; there stood the horse; there sat the negro—and I the only observer of this queer vehicle.

I stepped cautiously to the side of the wagon, and listened. Not a sound from within. Shivering and benumbed, I, too, like the policemen, took refuge in a doorway, and waited and watched for some sound or sign from that mysterious interior. I was too fond of adventure to give it up. It seemed to me that hours passed and I stood unrewarded. Just as I was reluctantly leaving, much chagrined to find that I had waited in vain, I saw, thrown against the window for a few moments only, a curious enlarged shadow of a man's head. It seemed to wear a kind of tam-o'-shanter, below which was a shade or visor sticking out beyond the man's face like the gigantic beak of a bird. A mass of wavy hair and beard showed underneath the cap. Suddenly the shadow disappeared, much to my disappointment, and although I watched in the fog and dampness for half an hour longer, it did not again appear.

I wandered home, puzzled and speculating, but determined that I would wait until morning if I were ever fortunate enough to come across the vehicle again. Weeks passed before the opportunity occurred, and even then, had it not been for a very singular incident, I doubt if I should ever have fathomed the mystery of the curious vehicle.

It was Christmas eve, the night bitterly cold. I had clothed myself in my thickest ulster. My feet were incased in arctics, my hands in warm fur gloves, and with rough Scotch cap I felt sure I could brave the coldest night. Thus equipped, I started out, and when I returned at midnight in the beginning of a whirling, almost blinding snowstorm, the Christmas chimes were ringing, and the whole air seemed filled with Christmas cheer.

Turning a corner, I discovered the vehicle in the same place and position. This time, as I had before resolved, I would wait until morning if necessary. So I began pacing up and down the sidewalk in front of the vehicle, taking strolls of five or ten minutes apart, and then returning. I walked until I was almost exhausted. In spite of my heavy ulster I began to feel chilly, so I again took refuge in the doorway of a building opposite.

Should I give it up, I asked myself, after waiting so long? I stood debating the question. No, I would wait a little longer; so, puffing my pipe, I shivered, and watched for developments. At last I was about determined that I must go or perish, when suddenly I saw through the blinding snow the shadow of a pair of hands appear at the dimly lighted window, adjusting a frame or inner sash. You can imagine my interest in the proceedings.

Just at this moment a street sparrow, numb with the cold, and crowded from a window-blind by its companions, dropped, half falling, half flying, to the sidewalk directly in front of the window of the vehicle. It sat blinking in the bright rays of the electric light, quite bewildered, turning its little head first one way, then the other. In the meantime the shadows of the two hands were still visible. The sparrow, probably attracted by the light and the movement of the hands, suddenly flew up, not striking the glass, but hovering with a quick motion of the wings directly in front of the window, its magnified shadow thrown on it by the rays of the electric light. Then the bird dropped to the ground. The occupant was evidently much startled by the large shadow coming so suddenly and at such a time of night. The shadow of his hands quickly disappeared, and so did the frame. In another moment the door of the vehicle opened, giving me a glimpse of a cozy and remarkable interior. It seemed, in contrast with the cold and storm without, filled with warmth and sunshine. It was like a pictorial little room rather than the inside of a wagon or carriage. The occupant looked out in a surprised, excited, and questioning way, as much as to say, "What could that have been?" His whole manner implied that he had been disturbed.

This was my opportunity, and, seizing it instantly, I walked boldly to the door of the vehicle, and said, "It was a little sparrow benumbed with the cold, that fluttered down to the sidewalk, where it lay for a moment, until, probably attracted by the light, it hovered for a few seconds before your window, then fell to the ground again."

I felt the man eying me intently, studying me with a most searching glance. Was he in doubt as to my sincerity? Was it a hidden bond of sympathy between us that made him suddenly relent and invite me to enter his vehicle? What else could have prompted him? For my own part, I instinctively felt for the man, without knowing why, a deep pity.

"Please step inside," he said; "it is cold."

And so, at last, I was really admitted, invited into the little interior—that little interior which had piqued my curiosity for so long a time. Yes, I was admitted at last, and now had a chance to look about, and to study the general appearance of the occupant as he moved over for me to sit beside him on the roomy, luxurious seat. What a curious personality! He was a tall, raw-boned man of strong character. His soft, gray beard and hair made a marked contrast to the dark surroundings. Now I understood the shadow which I had seen thrown on the window for a few seconds. He wore a tam-o'-shanter cap, and beneath it, to protect his eyes from the lamp-light, a large visor, or shade, which threw his entire face into deep shadow, giving him the look of a painting by an old master. He had on a loose coat of some rough material.

Surely the interior of no conveyance could be more interesting than this. In the front, just back of the driver, were two square windows with sliding wooden shutters, and between the two was a little square mirror. Above these was a rod, from which hung a dark-green cloth curtain which could be drawn at will. Underneath was a chest, or cabinet, of shallow drawers filling the entire width of the carriage, with small brass rings by which to pull them out. On top of this cabinet stood several clear glass jars half filled with pure water. There were two or three oil-lamps with large shades hung in brackets with sockets like steamer-lamps, only one of which was lighted. Underneath the seat was a locker. On the floor of the conveyance, along its four sides, were oblong bars of iron, and in the center was a warm fur rug. One side only of the carriage opened. On the side opposite the door was a rack reaching from the window to the floor, in which stood six or eight light but strongly made frames, over which was stretched the thinnest parchment-like paper. The top of the vehicle was tufted and padded. The prevailing color was dark green. In shape it was somewhat longer and broader than the usual carriage. There was a small revolving circular ventilator in front, over the mirror, which could be opened or closed at will, and which could also be used by the occupant for conversing with the driver.

The man arose, and, opening the ventilator, told the coachman to drive on. Meanwhile I enjoyed the wonderful effect of the little interior—its rich gloom, the strong light from the shaded lamp which was thrown over the floor, the bright electric light gleaming through the falling snow into the window on my left.

The night, being so disagreeable, made the interior seem very bright and comfortable by contrast, as the man closed the sliding wooden shutters, separating us entirely from the snowstorm without. There was an artificial warmth which I could not understand, and with it all a sense of security and coziness. The stranger's manner was both gentle and reassuring. We rode in silence over the rough pavement until we reached the smooth asphalt. Then he began:

"I do not consider myself superstitious, but somehow I don't like it—that little bird hovering in front of my window. It seems like a bad omen, and it was a shadow which startled me. My life seems haunted with shadows, and they always bring misfortune to me."

We were both silent for a time, when he went on: "How curious life is! Here am I riding with you, a total stranger, long past midnight. You are the first I have ever admitted into this wagon, with the exception of my faithful Cato, who is driving. If one could only see from the beginning how strangely one's life is to be ordered."

The stranger's voice was rich and deep. I hoped he would continue so that I might get some idea of him and his peculiar mode of life, and what was going on night after night in this interior. I waited for him to proceed.

"Have you known trouble or sorrow in your life?" he asked.

"Yes," I replied; "I have lost nearly all who were dear to me in this round world."

"Then," said he, "I will tell you my story with the hope that it will be both understood and appreciated. I loved from childhood a charming girl, sweet and pure. I need not go into the detail of all that boyish love, but in my early manhood and her early womanhood we were married—and what a sweet bride she was!

"We lived in an old white farmhouse in a village near the great city—a beautiful place, a long, low, two-story-and-attic, farmhouse, probably fifty or sixty years old. How well I can see it—its sloping roof, the extension, the quaint doorway with side-lights and with a window over the top, the front porch with graceful shaped newels, the long piazza running the entire length of the extension, great chimneys at each end, and enormous pine-trees in front of the house! The house stood on a little elevation, with terraced bank, and with a pretty fence inclosing it. Beyond was an old well with lattice-work sides and door, and a pathway trodden by the foot of former occupants, long since dead. In front of the house were circular beds of old-time flowers—sweet-williams, lady's-slippers, larkspur, and foxglove. At the rear, great banks of tiger-lilies threw their delicate blue shadows against the white surface of our little home. In one corner of our garden we had left the weeds to grow luxuriantly, like miniature forest trees, and found much pleasure in studying their beautiful forms. How fine they looked in silhouette against the sunset sky! On one side of the old-fashioned doorway were shrubs and a rose-of-Sharon tree, and on the other, honeysuckle and syringa-bushes. There were also many kinds of fruit and shade-trees.

"How happily we walked up and down the shady lanes of that little village! For us the birds sang sweetly. We took delight in our flowers and everything about us. In the evening we would enjoy the sunsets, returning home arm in arm in the afterglow, to sit in the cool of the evening on the piazza and to listen to the wind as it sighed through the pines. What music they made for us! We compared it with what poets of all ages had sung of them, and went to sleep, lulled to rest by the wind through their soft boughs."

He paused again, evidently thinking of the happy time.

"How can I tell you," he resumed, "of the life that went on in that simple old farmhouse? Our pleasant wood-fire on the hearth; a few photographs from the old masters on the walls; our favorite books of poetry and fiction, which we read together during the long winter evenings, while the pine-trees sighed outside, and all was so comfortable and cozy within; or the lovely walks in spring and summer, through the byways of the pretty little village, with its hedgerows, blackberries, and wild flowers. How we watched for the first violets, and what joy the early blossoms gave us! What pleasure we took in those delightful years, and how smoothly our lives ran on! Each day I went to the city, and was always cheered by the thought that my sweet wife would be at the station to meet me. How pure she looked in the summer evening, clad in her thin white dresses, with a silver fan and brooch, her dark hair and eyes like those of a startled fawn!

"Well, I need not dwell longer on all this. It was only for a few short years, when one cruel, cold day, about the happy Christmas-time, she was taken ill, and grew steadily worse, and all that could be done for her would not save her. She died. I can see her now—her dark hair laid back on the pillow, and the peaceful, happy smile on her face. We buried her beneath the snow, in the old graveyard overlooking the river, and I went home broken-hearted."

I heard the poor fellow sigh, and for a time he was silent as the carriage went on through the snow. "What can be the connection of this queer craft with what he is telling me?" I thought. When he resumed, he said:

"For months I tried to live on in the little house, but life became terrible. In the evenings, as I sat by the pleasant log-fire, I would imagine I heard her footsteps on the stairs, and her voice calling me. I did my best to conquer my grief, but it was of no use. The light seemed gone out of my life. At last I could stand it no longer, and I moved all my worldly possessions to another house in the same village. I could not bear to think of going away from the place entirely.

"When the springtime came again, and the lovely flowers were in bloom, and the birds were singing their sweet songs; when the wind breathed softly through the pine-trees, and she was gone, the sunsets were in vain, and all nature seemed mourning. After this I busied myself with all kinds of occupation, but without success. Life became sadder and sadder, until finally in despair I took a foreign trip. I traveled far and wide, but always with the same weary despondency and gloom. The image of my loved one was always with me. Nothing in life satisfied me. I wandered through country after country, looking at the old masters, grand churches, listening to cathedral music, but always before me was the same picture—the old, white farm-house, the great mournful pines, and with it all the memory of the sweet life now departed, for which nothing could make amends."

Then he was silent, and as we drove over the soft, snow-covered asphalt he became absorbed in thought.

"After a year or so of restless travel I drifted back to my own country and to the little village. Night after night I wandered around the empty house where we had lived, and through the little garden, and would stand at midnight listening to the sad sighing of the wind through the pine-trees, which to me sounded like a requiem for the dead. Many a moonlight night have I stood gazing into the windows, and imagined her looking out at me as in the happy days of old, and I would walk up and down the path thinking, oh, how sadly! of the times we used to return by it from our evening walks.

"Finally the little village became hateful to me. I could endure it no longer, and I shook its dust from my feet. With reluctance I moved away into the heart of the great city, but with the same longing in my heart—the same despair. I hunted up my two faithful black servants who had lived with us for several years. I bought a house in the old part of the city, and there we now live, and I am well cared for by them. Let me read you portions of a letter from her—one of the last she wrote," and he took from his pocket a little morocco book with monogram in silver script letters. He rose and asked the driver to stop, and, turning the light up, said: "This will give you some idea of the sweet life, with its love of nature, that went on in and about that little cottage. The letter was written to me when I was in another city." He read as follows:

"My dear, I can hardly tell you how lovely the shadows looked as I strolled around our little house this evening, and was filled with delight by their beautiful but evasive forms. To begin with, you remember the exquisite, almost silhouette, shadow of the rose-of-Sharon bush by the front door. I gave it a long study to-night. Its fine, decorative character reminded me of a Japanese drawing, only it is far more delicate and subtle. If this could be painted in soft gray on the door-posts and around the little side windows, how it would beautify our plain dwelling, and what a permanent reminder it would be of our delightful summer days!

"But if I spend too much time on a single shadow, I shall have no room left to tell you of the greater ones we have enjoyed together.... From the path near the gate, and looking toward the house, I saw to-night, and seemed to feel for the first time, the wonderful tenderness of the great shadow which nearly covers the end and side of our home. How mysterious our kitchen became, with its shed completely inclosed in velvety gloom, suggesting both sorrow and tragedy; while the other end of the house was covered with fantastic forms, soft and ethereal, and with a delicacy indescribable.... But when the moon came up, and the soft shadows of the pines were cast on the pure white weather-boards of our little home,—the shadows of our own pines, the pines we love so well, and through whose branches we have heard music sweet and low, soft and sad,—then I thought of you as I studied their masses tossing so gently, their movement almost imperceptible, and I longed for you as I studied their moving forms, their richness, variety, and texture—for you tell me of their artistic beauty—your delicate, poetic appreciation of their loveliness.... And at last, may the sun and moon shine brightly and cast beautiful shadows among and over the tombstones for you and for me, my dear, and may a blessed hope make the sunset of life glorious for us both."

When he had finished reading, and had asked the driver to drive on, he became absorbed and silent, and I thought, "How strange to be riding through the streets of the city after midnight in a whirling snow-storm with a stranger, in a vehicle so remarkable, listening to such a pathetic love-story, such a beautiful description of quiet domestic life." It was a charming idyl.

"You can get an idea from this," he said, "of the delightful, contented life which went on in the little cottage," and he sat holding the book in his hands as though he were living it all over again, while the bright silver script monogram gleamed and glistened on the cover until he turned down the light, and for a time we drove over the smooth asphalt in utter silence.

"Do you wonder," he suddenly asked, "that the shadow of that little bird has caused me uneasiness, and yet do you not see that almost the last letter she wrote to me was filled with omens, shadows? It is but natural that I should have some feeling about it—and yet, why should I care? I have only myself and my two old servants who could be affected by it, bad or good. For myself, my only desire is to live long enough to complete my work; then I am both ready and willing to go. I shall welcome death with delight."

I had become so absorbed in his story that I had forgotten all about my surroundings; but now as he paused I again asked myself what strange connection had this sad story, and the letter, and all that he had been telling me, with the wagon; for I was sure that in some queer way the story would help to explain it all.

"While in Europe," he went on, "I studied the old masters a great deal, particularly the halos and nimbuses surrounding the heads of the saints. I cannot begin to tell you how interesting they became to me. I was struck with the exquisite workmanship bestowed on many of them, but fine as they were, they never came up to my idea of what a halo should be. As my loved one was so pure and gentle, I always thought of her as a saint (and indeed she is such), and I would become interested and imagine what kind of halo I would surround her with if I were painting her—not one of the halos of the old masters seemed fine enough or ethereal enough for her. I had always been fond of art, and had been considered a fair amateur artist. One evening after I had moved to the city, and while riding in a cab (oh, how gloomy!) on a snowy evening something like this very night, I looked through the window at an electric light, and there I saw the loveliest halo, in miniature. Such tints! A heavenly vision! I thought of the old masters, of the beautiful Siena Madonnas, and with sudden joy I thought: Why should I not paint the image of her I love? Why should I not clothe her in Madonna-like robes, with a halo which could come only out of the nineteenth century? Why should she not have a halo far outshining and far surpassing in beauty halo ever painted by mortal man?' I rode nearly the whole night through, evidently to the despair of the driver, as I repeatedly asked him to stop opposite electric lights and street-lamps.

"From that day I had a new purpose in life. I had this wagon built just as you see it. For months I thought of it. Over and over again I drew my plans before the vehicle was actually constructed. Then I began my work. Old Cato, who is driving, sits night after night, unmindful of the cold, wrapped in his great fur coat, and he waits and I work through the midnight hours to conceive and make real the new Madonna."

What a strange, subtle connection the whole thing had, as he suddenly tapped on the small window and we stopped directly in front of an electric light! As he opened the sliding shutter I saw, through the frosted window and the feathery snow, such a vision of loveliness—a little halo that could scarcely be described in words. It was like a miniature circular rainbow, intensified and glorified by the glittering rays of the penetrating electric light.

"What could be more beautiful than that? Isn't it exquisite?" he asked. "Did ever painted saint have a halo like that?"

I held my breath, for I had never seen anything so beautiful.

"I have worked at it for a long time. I have not yet accomplished it, but I hope to. I am coming nearer to it every night in which I can work. There are not many during the winter; the conditions of atmosphere and temperature must be just right. On foggy nights, or when the air is filled with light, flying snow—these are the nights in which the little halos glow around the electric lights, street-lamps, and lights in show-windows. Oh," he said, "they fill me with a happiness and delight I cannot describe, as I try all kinds of experiments to transfix the beautiful colors of their delicate rays!

"Let me show you," he went on, and he lifted one of the frames which I have already described, covered with a thin parchment-like paper. This he carefully buttoned to a groove in the window. On the surface of the stretched parchment the little halo glowed with its prismatic tints, and again I held my breath at the beauty of it. I, too, was becoming a halo-worshiper. Then he lifted from the rack on the side, and held up to the light, first one and then another of the frames, on the parchment surface of which he had actually traced lines of color, against the gloom beyond, radiating lines crossing and re-crossing, glowing with rainbow tints seen through and against the window.

"Do you know anything of Frankenstein's wonderful Magic Reciprocals, sometimes called Harmonic Responses?"[4] he asked. "How I longed for his marvelous power, so that I might experiment with them. But they were far beyond my skill, and also, perhaps, too scientific and geometric for my purpose; and so I was forced to discard them and begin afresh in my own way. I have had reasonable success, although I have not yet reached the purity of color nor the brilliancy that I wish. I do not know that mortal man ever can. I have tried all sorts of experiments—lines of silver crossed with lines of gold; prismatic threads of silk; and now I have abandoned them all, and am beginning again, perhaps for the fortieth time. But if I am only able to do it, nothing can give me greater happiness. I can close my eyes in peace at last."

After he had shown me his experiments, he removed the little frame from the window, closed the sliding shutter on the side, and, turning the circular ventilator, asked the driver to drive on.

"Now for an extended view," he said, and he opened the shutter of one of the front windows, and then of the other on each side of the mirror. What a vista of loveliness! A long perspective of glowing halos, vanishing down the street through the flying snow, until they were mere specks of light in the distance. The whole atmosphere was filled with circular rainbows, and again he dwelt on their beauty. They glowed with ultramarine, with delicate green, with gold and silver, and like light from burnished copper, and our little vehicle seemed a moving palace of delight as we drove on through the blinding storm. Turning into one of the narrower streets, away from the electric lights, we saw the long line of receding gas-lamps, each with its softly subdued nimbus, and he said in a low and gentle voice, almost a whisper, "The street of halos."

When he had closed the shutters again he said, "Let me show you my cabinet of colors and working tools." He pulled out a shallow drawer, and there, on small porcelain plaques (the kind used by water-color painters), side by side, in regular order, was every shade of red, from the faintest pink to the deepest crimson. He opened the next drawer, and instead of the red was an arrangement of blues, from delicate turquoise to deepest ultramarine. In the third drawer was an arrangement of yellows, running from Naples to deepest cadmium.

"I deal in primary colors," he said, "for what would you paint rainbows in but red, blue, and yellow?"

Then he opened the fourth drawer, and there, laid with precision, were long-handled brushes from the finest sable (mere pin-points) up to thick ones as large as one's finger. There were flat ones and round ones, short ones and long ones. As he opened the fifth drawer, "For odds and ends," he said. This was a little deeper than the others, and in it were sponges fine and coarse, erasers, scrapers, and boxes of drawing-tacks of various sizes. In the last drawer were soft white rags and sheets of blotting-paper of assorted sizes.

After he had shown me the contents of the cabinet he said, "I have been quite disturbed by the shadow of that little bird. Will you join me in a glass of old sherry?" He opened the locker underneath the seat, and brought out an odd-shaped bottle, which he unscrewed, handing me a small, thistle-shaped glass and a tin box containing crackers.

"It is a bad night," he said, "a very bad night. I feel it, even with the warmth of this interior. Those long bars of iron are filled with hot water, which usually keeps me very warm."

Then he passed through the ventilator, to the driver, some crackers and sherry. After he had closed it, and put away the bottle, box, and glasses, we both mused a long time, the halo-painter completely lost in reverie, and I thinking of the undying love of such a man—a man who could love but one, and for whom no other eyes or voice could ever mean so much. With him love was an all-absorbing passion. He had given his heart without reserve, and for him no other love could ever bloom again. I thought of him sitting, night after night, in his solitary vehicle working at the halo—a new halo which should surround the head of her he loved. I thought of him in the lonely early morning hours, working at a nimbus which was far to outshine in beauty and delicacy any painted or dreamed of by God-fearing saint-painters of old.

He opened the shutters, and the light from the lamp began to grow dimmer as the early morning light shone faintly through the windows. I noticed the deep furrows of care and sorrow which marked his strong, pathetic face, purified by suffering and lighted by divine hope—the face of one who lived in another world, and for whom all of life was centered in his ideal—one who was in the world, but not of it.

As he bade me good-by, his face beamed in the early Christmas morning light with indescribable tenderness; and as the little wagon with its faithful old black driver disappeared through the snow, I thought again and again of the beautiful, touching love of the man who would sit night after night trying to realize his dream of beauty, to clothe in the garb of a saint the form of her he loved.

—Alexander W. Drake.

The Spyglass of the Past

It is possible for a man to have two hobbies. Dr. Aukirt demonstrated the fact. No one would have thought that the quiet man, who was so often poring over the Egyptian cases at the British Museum, was an optician; but then the truth is apt to be unsuspected. He used to say that it was all a mistake—that he was an explorer pure and simple, but that he explored the past and the heavens instead of the forest and rivers. At any rate, an archeologist he was, and a noted one too, or the British government would not have put him at the head of the expedition to excavate the ruins of Karnac, that greatest of all temples.

The men had gone to their camp as usual, but Dr. Aukirt remained behind. During the day an interesting inscription had been uncovered, and the moon shone in among the pillars of Karnac before the explorer thought of leaving the scene of the day's work. As he turned to go, he noticed a slight movement at his feet, and stopped. A tiny stream of sand was sliding slowly into a crevice between two stones in the pavement, and was disappearing beneath him. He seized a pick and at length was able to dislodge the block. A flight of steps led down into the darkness. He soon stood at the foot of the stairway with the wealth of his discovery about him. The light from his pocket lamp was reflected from the thousands of silver points in the ceiling of lapis lazuli and from the porphyry pillars with their exquisite capitals of lotus leaves. Under a frieze of small windows was a divan with the imprint of a head so plainly visible in the draperies that it seemed as though the sleeper must have but just arisen, but the fabric crumbled to dust under the Doctor's hand.

At the other side of the room was a table, evidently a student's desk, with a litter of writing materials and curious instruments. Across an unfinished papyrus lay a brass tube with a lens at each end. Dr. Aukirt picked up the strange telescope and instinctively applied it to his eye, although he was convinced that he should be unable to see anything, for the body of the glass was a double curve, like a much elongated S. But as he pointed the lens toward the divan, a priestly figure seemed to be sleeping there, and this room brightened, light streamed in through the windows which had been hidden by the sand of hundreds of years. The Doctor looked up; everything was dusty and deserted.

When he reached the open air again, he saw that the sun was rising away at the rim of the desert; and once more he looked through the new-found spy-glass. The surface of the Nile that had been so peaceful a moment ago, was aswarm with boats. Figures of dusky slaves with sad Hebraic features passed and repassed with their burdens. He turned to the ruin which he had just left, and beheld a stately temple with the sunbeams flashing from its carved and polished façade.

The puzzled and astonished archeologist went to his tent with his treasures, the papyrus and the glass, and for weeks he studied them that he might learn to use the instrument. Sometimes it seemed to him as though his search were to be rewarded, but the truth constantly eluded him, although by a smaller and smaller margin, or so he was pleased to think. One day he brought his glass once more to the banks of the Nile near Karnac. Victory seemed very near just now. Carefully he opened the instrument to its full extent—and saw a savage people warring with each other on the peaceful river bank. Then came a stronger tribe, and then a stronger still, until at length he saw the mighty procession of the Pharaoh coming to inspect the temple of Karnac. He saw the rise and fall of nations: the slow march of the ages passed before his vision like the gliding of a dream. The Egyptian had written truth: "I have made an instrument which will gather up the scattered and tangled images of the past, and focus them upon the present."

Appalled at the magnitude of his discovery, Dr. Aukirt stood in silence, and then the thought came, "Victory is not complete, the instrument can be so adjusted as to presage the future." He made what seemed to him the necessary changes; but when he attempted to look through his glass again, there was no light; the lens was broken.

—Hazel Adelle Orcutt.

Up a Water-Spout

I was a poor, hard-working sailor on a fishing smack plying between Nantucket Island and Cape Cod. My parents before me had been of scanty means, living from hand to mouth, and I was compelled early in life to provide for myself. Naturally, I had little education; that is, education from books; but if traveling possesses half the advantages attributed to it in that line, I own I must be the best educated man—I say this with all modesty—on this small globe of ours.

Once a year the captains of the several boats with their respective crews made a more extended trip down the coast for pickerel. This year with the usual company of fishing-craft we sailed southward toward the Bahamas.

Favorable winds hastened our journey until at a point just off Cape Fear we ran into a dead calm. For four days we never moved. The heat was scorching. The boards warped and cracked, and not even a flapping sail indicated the slightest disturbance in the air. All the boats had dropped anchor within hailing distance of each other, so with the aid of the dories to carry us around from one ship to another we passed the time quite agreeably.

On the fifth morning, however, a thick rim of cloud covered the western horizon and seemed to be moving rapidly toward us. Almost in the center of this cloud projected a small point of mist. It grew and widened, then shrank back to half its size, finally running down a long, slender finger until it reached the water. Instantly foam and spray began to rise, and we knew that we were in the path of a water-spout. All anchors had been hoisted and the captains were giving hoarse orders to put on every inch of sail. But there seemed to be an upper current that was carrying that water-spout right among us; yet we were still becalmed and helpless.

As it approached it grew in circumference into a huge column of water, foaming and swirling in a horrible manner. Every man rushed for the cabin. We tightly closed the doors and windows. Then—we waited. The boat gave a sharp twist as we entered the whirling pool, and a great wave passed over us.

Silently we sat there expecting the boat to be swamped and broken into bits. But this is far from what really took place; for after the first shock, we felt the boat to be rising. Trembling and cautious we peeped out of the window. All the other boats were circling around in the air near us, and were rising too. We seemed to be surrounded by a hollow cylinder of water, also rising like ourselves. It seemed impossible, and yet we were forced to recognize the fact that we were inside the water-spout, and the suction that was drawing up the water, had picked our vessel up bodily and was carrying us—where? Where, indeed? Miles we went. Finally we left behind the column of water which had been growing thinner and thinner, and we passed swiftly through clouds and mists. Gradually these cleared away and the earth came into view. For three months our journey lasted. We wandered here and there over the earth wherever currents bore us. Luckily, we had an extraordinarily large supply of provisions on board.

One day we saw a dim speck in the distance and the watch involuntarily cried out, "A sail." We laughed, but sure enough, within a few hours, another boat wheeled up along side. We had no way of stopping, so our communication was short. It was found out that they had met the same fate as we, and had, like us, probably been reported at home as lost at sea. They said that if by any chance we should return to earth, we should tell their friends that they were quite happy, only, were weary of such constant travel, but must continue it, they supposed, unless sometime in their course they might come upon another water-spout to afford them a passage to earth again. And I might add here, if we had not been thus fortunate, we should still be journeying monotonously through the heavens.

But the circumstance of all our trip that I felt would interest you most, is the fact that we saw and talked with Captain Anson. You remember Captain Anson, the man who set out in an airship to find the South Pole? Well, he has found it. He declares that it is a veritable Eden to which man can gain admittance only by passing through a water-spout, and it seems that his machine was thus transported, being caught in a spout while crossing an inland lake. Also he wished us to tell the people at home not to expect his return, for, he declares, he is supremely happy and has found a place far superior in climate and beauty to anything yet discovered on the earth. There, he asserts further, and we know this to be true for we beheld it ourselves, the problem of supplying energy is not a problem at all; for as a result of the magnetic force, so strong everywhere there, perpetual motion machines are used entirely for mechanical purposes. And I might add here that it was only through this magnetic attraction for the bolts in our ship that we were able to stop at all. But here we hovered for several days until a particularly strong current seized the boat and carried us on. We sped from ocean to ocean, time and time again until we, too, were almost in despair, of ever seeing the earth again, except by a bird's-eye view.

But one cloudy day, as we were shipping quietly through the mist, we all experienced a sensation of falling. The mist began to grow thicker, and we were again surrounded by curved walls of rising water. We were filled with a sense of familiarity, for we recognized our water-spout. Having reached the bottom, with one short dive we were through that wall of water, and were sailing swiftly across the Atlantic in an opposite direction from the water-spout, which was fast disappearing over the horizon. We looked at it with regret; for we realized that probably never again should we have the opportunity of another such trip, unless perhaps sometime in our future journeyings we should come upon its like.

If fortune should never so favor us, then the way to that delightful land of the South Pole would be closed forever.

But if any of you feel inclined to travel, and see the world in a large perspective, go to some body of water, and watch for one of these natural elevators, and if one does happen in your way, be sure that all the hatches and windows are closed, and then steer straight for the center of that swirling mass; for this is a pleasant mode of travel—slow, and doesn't jar.

—Edna Collister.

IV. The Detective Story and Other Tales of Pure Plot

Detective story: Connection with stories of ingenuity

A few detective stories could be classed with our last preceding type as well as with this. Those like F. R. Burton's suppressed prize contribution to a Western newspaper might be put under mechanical inventions; that is, all that contain, like his, a practicable theory. The report goes that Mr. Burton and a friend worked together and produced a story of bank robbers who overcame the time-lock device. So explicitly was the ingenious method written out that the editors decided not to publish it, convinced that if they spread the knowledge abroad no time-lock thereafter would be secure. "The Black Pearl" by Victorien Sardou, on the other hand, might be called a scientific-discovery detective tale. It perfectly combines the two elements—mystery and the astounding action of a nature phenomenon.

Not all detective stories, however, are so dangerous or so interesting as these. Most, rather, are amusing or merely entertaining; but we class them in the ingenious group because of the effort at pure plot. There are many crude attempts at writing detective stories, and the cheap, ten-cent-novel kind disgusts persons of taste; but the popularity of the type attests its excellence. When in the hands of such men as Edgar Allan Poe and A. Conan Doyle, it yields an artistic short-story. "The Purloined Letter" and the "Adventures of Sherlock Holmes" are worthy of their fame. "The Murders in the Rue Morgue" and the "Mystery of Marie Rogêt" are not so pleasant, but are equally ingenious.

Of course, the author of the ordinary tale of this type has the advantage over the real detective, since the author first creates the mystery before solving it. His ingenuity, therefore, will lie revealed in the construction of the crime which he pretends to be unearthing and explaining. Evidently, though, his process of mind can be no different from that of the actual analyzer, who must unravel what to him is a real mystery. He, too, if he is to succeed, must re-image the whole train of events, not as points or dots, but as vivid scenes. Thus only will both workers come at small incidents that are original and ingenious and essentially pertinent. It happened that Poe, in the story of Marie Rogêt, was acting the part of a real detective, since he was reasoning upon an actual mystery, the details of which had baffled the police. In his imaginary case he reinstalled the crime as he felt it must have taken place, and, strange to say—or rather not strange to say, for Poe had the qualities of more than a paper detective—the facts, by a woman's confessions later, were found to be exactly as Poe had imagined them, even in minor details.

Other stories of plot

But stories that emphasize plot do not wholly lie in the detective's realm. There is the pure reasoner's great domain of fancy. "The Lady or the Tiger" illustrates the class completely, even by the whimsical ending. The man that could make up that situation could have solved it, or have carried it on interminably, as he laughingly shows you in the "Discourager of Hesitancy." His "Transferred Ghost" is another quirk, of "reasonable" fantasy. Poe's "Gold Bug" is almost pure plot and has the interesting device of the cryptogram in addition. Pushkin's "Snow Storm" is built upon a queer coincidence.

The story that emphasizes plot is primarily a narrative of a series of happenings, and only incidentally the record of character or place. The author has no interest in what kind of men perform the deeds, except that they shall be the general large types: the soldier and his friend, the lover and his rival, the magistrate and the citizen, the sovereign and his subject, the doctor and his patient, and so on. Interest centers in the question, What will they do next? not, What are they and what will they become?

Romance

In longer prose the story with a plot is the romance, the modern romance. In it, too, the author is concerned mainly with the course of events. Take "Ivanhoe" or "The Prisoner of Zenda," for instance, and what have you?—actors about whom there is no question of character growth. What they were at the beginning, that they are at the end—except, perhaps, Rebecca. In romance the happenings are largely adventure. As they become preposterous the narrative borders on the mere wonder type.

A few suggestions

To write a detective tale or other story of pure plot, you must first get your plot—as the old fisherman would say about the eel when you wish to skin it. If you can grasp one and hold it, you are an expert. The difficulty will be that you will probably find your plot a shadow, when you hoped for a good solid piece of reasoning. In the detective tale you must propound your mystery at the beginning of the narrative and then work backwards to the first step. In the other story, you must start out with the simplest and seemingly most insignificant incident and work steadily up to a fantastic or astounding climax. In the second you naïvely keep adding one to one, as it were, and get a hundred; in the first, you subtract one after one from your hundred until you get a unit.

Thou Art the Man

I will now play the Œdipus to the Rattleborough enigma. I will expound to you—as I alone can—the secret of the enginery that effected the Rattleborough miracle—the one, the true, the admitted, the undisputed, the indisputable miracle, which put a definite end to infidelity among the Rattleburghers and converted to the orthodox of the grandames all the carnal-minded who had ventured to be sceptical before.

This event—which I should be sorry to discuss in a tone of unsuitable levity—occurred in the summer of 18—. Mr. Barnabas Shuttleworthy—one of the wealthiest and most respectable citizens of the borough—had been missing for several days under circumstances which gave rise to suspicion of foul play. Mr. Shuttleworthy had set out from Rattleborough very early one Saturday morning, on horseback, with the avowed intention of proceeding to the city of——, about fifteen miles distant, and of returning the night of the same day. Two hours after his departure, however, his horse returned without him, and without the saddle-bags which had been strapped on his back at starting. The animal was wounded too, and covered with mud. These circumstances naturally gave rise to much alarm among the friends of the missing man; and when it was found, on Sunday morning, that he had not yet made his appearance, the whole borough arose en masse to go and look for his body.

The foremost and most energetic in instituting this search was the bosom friend of Mr. Shuttleworthy—a Mr. Charles Goodfellow, or, as he was universally called, "Charley Goodfellow," or "Old Charley Goodfellow." Now, whether it is a marvellous coincidence, or whether it was that the name itself has an imperceptible effect upon the character, I have never yet been able to ascertain; but the fact is unquestionable, that there never yet was any person named Charles who was not an open, manly, honest, good-natured, and frank-hearted fellow, with a rich, clear voice, that did you good to hear it, and an eye that looked you always straight in the face, as much as to say: "I have a clear conscience myself, am afraid of no man, and am altogether above doing a mean action." And thus all the hearty, careless, "walking gentlemen", of the stage are very certain to be called Charles.

Now, "Old Charley Goodfellow," although he had been in Rattleborough not longer than six months or thereabouts, and although nobody knew anything about him before he came to settle in the neighborhood, had experienced no difficulty in the world in making the acquaintance of all the respectable people in the borough. Not a man of them but would have taken his bare word for a thousand at any moment; and as for the women, there is no saying what they would not have done to oblige him. And all this came of his having been christened Charles, and of his possessing, in consequence, that ingenuous face which is proverbially the very "best letter of recommendation."

I have already said that Mr. Shuttleworthy was one of the most respectable and, undoubtedly, he was the most wealthy man in Rattleborough, while "Old Charley Goodfellow" was upon as intimate terms with him as if he had been his own brother. The two old gentlemen were next-door neighbors, and, although Mr. Shuttleworthy seldom, if ever, visited "Old Charley," and never was known to take a meal in his house, still that did not prevent the two friends from being exceedingly intimate, as I have just observed; for "Old Charley" never let a day pass without stepping in three or four times to see how his neighbor came on, and very often he would stay to breakfast or tea, and always to dinner; and then the amount of wine that was made way with by the two cronies at a sitting, it would really be a difficult thing to ascertain. "Old Charley's" favorite beverage was Chateau Margaux, and it appeared to do Mr. Shuttleworthy's heart good to see the old fellow swallow it, as he did, quart after quart; so that, one day, when the wine was in and the wit, as a natural consequence, somewhat out, he said to his crony, as he slapped him upon the back: "I tell you what it is, 'Old Charley,' you are, by all odds, the heartiest old fellow I ever came across in all my born days; and, since you love to guzzle the wine at that fashion, I'll be darned if I don't have to make thee a present of a big box of the Chateau Margaux. Od rot me," (Mr. Shuttleworthy had a sad habit of swearing, although he seldom went beyond "Od rot me," or "By gosh," or "By the jolly golly"). "Od rot me," says he, "if I don't send an order to town this very afternoon for a double box of the best that can be got, and I'll make ye a present of it, I will!—ye needn't say a word now—I will, I tell ye, and there's an end of it; so look out for it—it will come to hand some of these fine days, precisely when ye are looking for it the least!" I mention this little bit of liberty on the part of Mr. Shuttleworthy, just by way of showing you how very intimate an understanding existed between the two friends.

Well, on the Sunday morning in question, when it came to be fairly understood that Mr. Shuttleworthy had met with foul play, I never saw any one so profoundly affected as "Old Charley Goodfellow." When he first heard that the horse had come home without his master, and without his master's saddle-bags, and all bloody from a pistol-shot, that had gone clean through and through the poor animal's chest without quite killing him—when he heard all this, he turned as pale as if the missing man had been his own dear brother or father, and shivered and shook all over as if he had had a fit of the ague.

At first he was too much overpowered with grief to be able to do anything at all, or to decide upon any plan of action; so that for a long time he endeavored to dissuade Mr. Shuttleworthy's other friends from making a stir about the matter, thinking it best to wait a while—say for a week or two, or a month, or two—to see if something wouldn't turn up, or if Mr. Shuttleworthy wouldn't come in the natural way, and explain his reasons for sending his horse on before. I dare say you have often observed this disposition to temporize, or to procrastinate, in people who are laboring under any very poignant sorrow. Their powers of mind seem to be rendered torpid, so that they have a horror of anything like action, and like nothing in the world so well as to lie quietly in bed and "nurse their grief," as the old ladies express it—that is to say, ruminate over the trouble.

The people of Rattleborough had, indeed, so high an opinion of the wisdom and discretion of "Old Charley," that the greater part of them felt disposed to agree with him, and not make a stir in the business "until something should turn up," as the honest old gentleman worded it; and I believe that, after all, this would have been the general determination, but for the very suspicious interference of Mr. Shuttleworthy's nephew, a young man of very dissipated habits, and otherwise of rather bad character. This nephew, whose name was Pennifeather, would listen to nothing like reason in the matter of "lying quiet," but insisted upon making immediate search for the "corpse of the murdered man." This was the expression he employed, and Mr. Goodfellow acutely remarked at the time, that it was "a singular expression, to say no more." This remark of "Old Charley's" too, had great effect upon the crowd; and one of the party was heard to ask, very impressively, "how it happened that young Mr. Pennifeather was so intimately cognizant of all the circumstances connected with his wealthy uncle's disappearance, as to feel authorized to assert, distinctly and unequivocally, that his uncle was 'a murdered man.'" Hereupon some little squibbling and bickering occurred among the various members of the crowd, and especially between "Old Charley" and Mr. Pennifeather—although this latter occurrence was, indeed, by no means a novelty, for little good-will had subsisted between the parties for the last three or four months; and matters had been gone so far that Mr. Pennifeather had actually knocked down his uncle's friend for some alleged excess of liberty that the latter had taken in the uncle's house, of which the nephew was an inmate. Upon this occasion "Old Charley" is said to have behaved with exemplary moderation and Christian charity. He arose from the blow, adjusted his clothes, and made no attempt at retaliation at all—merely muttered a few words about "taking summary vengeance at the first convenient opportunity,"—a natural and very justifiable ebullition of anger, which meant nothing, however; and, beyond doubt, was no sooner given vent to than forgotten.

However these matters may be (which have no reference to the point now at issue), it is quite certain that the people of Rattleborough, principally through the persuasion of Mr. Pennifeather, came at length to the determination of dispersion over the adjacent country in search of the missing Mr. Shuttleworthy. I say they came to this determination in the first instance. After it had been fully resolved that a search should be made, it was considered almost a matter of course that the seekers should disperse—that is to say, distribute themselves in parties—for the more thorough examination of the region round about. I forgot, however, by what ingenious train of reasoning it was that "Old Charley" finally convinced the assembly that this was the most injudicious plan that could be pursued. Convince them, however, he did—all except Mr. Pennifeather; and, in the end, it was arranged that a search should be instituted, carefully and very thoroughly, by the burghers en masse, "Old Charley" himself leading the way.

As for the matter of that, there could have been no better pioneer than "Old Charley," whom everybody knew to have the eye of a lynx; but, although he led them into all manner of out-of-the-way holes and corners, by routes that nobody had ever suspected of existing in the neighborhood, and although the search was incessantly kept up day and night for nearly a week, still no trace of Mr. Shuttleworthy could be discovered. When I say no trace, however, I must not be understood to speak literally; for trace, to some extent, there certainly was. The poor gentleman had been tracked, by his horse's shoes (which were peculiar), to a spot about three miles to the east of the borough, on the main road leading to the city. Here the track made off into a bypath through a piece of woodland—the path coming out again into the main road, and cutting off about half a mile of the regular distance. Following the shoemarks down this lane, the party came at length to a pool of stagnant water, half hidden by the brambles, to the right of the lane, and opposite this pool all vestige of the track was lost sight of. It appeared, however, that a struggle of some nature had here taken place, and it seemed as if some large and heavy body, much larger and heavier than a man, had been drawn from the bypath to the pool. This latter was carefully dragged twice, but nothing was found; and the party were upon the point of going away, in despair of coming to any result, when Providence suggested to Mr. Goodfellow the expediency of draining the water off altogether. This project was received with cheers, and many high compliments to "Old Charley" upon his sagacity and consideration. As many of the burghers had brought spades with them, supposing that they might possibly be called upon to disinter a corpse, the drain was easily and speedily effected; and no sooner was the bottom visible, than right in the middle of the mud that remained was discovered a black silk velvet waistcoat, which nearly every one present immediately recognized as the property of Mr. Pennifeather. This waistcoat was much torn and stained with blood, and there were several persons among the party who had a distinct remembrance of its having been worn by its owner on the very morning of Mr. Shuttleworthy's departure for the city; while there were others, again, ready to testify upon oath, if required, that Mr. P. did not wear the garment in question at any period during the remainder of that memorable day; nor could any one be found to say that he had seen it upon Mr. P.'s person at any period at all subsequent to Mr. Shuttleworthy's disappearance.

Matters now wore a very serious aspect for Mr. Pennifeather, and it was observed, as an indubitable confirmation of the suspicions which were excited against him, that he grew exceedingly pale, and when asked what he had to say for himself, was utterly incapable of saying a word. Hereupon, the few friends his riotous mode of living had left him deserted him at once to a man, and were even more clamorous than his ancient and avowed enemies for his instantaneous arrest. But, on the other hand, the magnanimity of Mr. Goodfellow shone forth with only the more brilliant lustre through contrast. He made a warm and intensely eloquent defense of Mr. Pennifeather, in which he alluded more than once to his own sincere forgiveness of that wild young gentleman—"the heir of the worthy Mr. Shuttleworthy"—for the insult which he (the young gentleman) had, no doubt in the heat of passion, thought proper to put upon him (Mr. Goodfellow). "He forgave him for it," he said, "from the very bottom of his heart; and for himself (Mr. Goodfellow), so far from pushing the suspicious circumstances to extremity, which he was sorry to say, really had arisen against Mr. Pennifeather, he (Mr. Goodfellow) would make every exertion in his power, would employ all the little eloquence in his possession to—to—to—soften down, as much as he could conscientiously do so, the worst features of this really exceedingly perplexing piece of business."

Mr. Goodfellow went on for some half hour longer in this strain, very much to the credit both of his head and of his heart; but your warm-hearted people are seldom opposite in their observations—they run into all sorts of blunders, contre-temps and mal-apropos-isms, in the hot-headedness of their zeal to serve a friend—thus, often with the kindest intentions in the world, doing infinitely more to prejudice his cause than to advance it.

So, in the present instance, it turned out with all the eloquence of "Old Charley"; for, although he labored earnestly in behalf of the suspected, yet it so happened, somehow or other that every syllable he uttered of which the direct but unfitting tendency was not to exalt the speaker in the good opinion of his audience, had the effect of deepening the suspicion already attached to the individual whose cause he pled, and of arousing against him the fury of the mob.

One of the most unaccountable errors committed by the orator was his allusion to the suspected as "the heir of the worthy old gentleman, Mr. Shuttleworthy." The people had really never thought of this before? They had only remembered certain threats of disinheritance uttered a year or two previously by the uncle (who had no living relative except the nephew), and they had, therefore, always looked upon this disinheritance as a matter that was settled—so single-minded a race of beings were the Rattleburghers; but the remark of "Old Charley" brought them at once to a consideration of this point, and thus gave them to see the possibility of the threats having been nothing more than a threat. And straightway hereupon, arose the natural question of cui bono?—a question; that tended even more than the waistcoat to fasten the terrible crime upon the young man. And here, lest I may be misunderstood, permit me to digress for one moment merely to observe that the exceedingly brief and simple Latin phrase which I have employed, is invariably mistranslated and misconceived. "Cui bono" in all the crack novels and elsewhere—in those of Mrs. Gore, for example (the author of "Cecil"), a lady who quotes all tongues from the Chaldaean to Chickasaw, and is helped to her learning, "as needed," upon a systematic plan, by Mr. Beckford—in all the crack novels, I say, from those of Bulwer and Dickens to those of Turnapenny and Ainsworth, the two little Latin words cui bono are rendered "to what purpose?" or (as if quo bono), "to what good?" Their true meaning, nevertheless, is "for whose advantage." Cui, to whom; bono, is it for a benefit. It is a purely legal phrase, and applicable precisely in cases such as we have under consideration, where probability of the doer of a deed hinges upon the probability of the benefit accruing to this individual or to that from the deed's accomplishment. Now in the present instance, the question cui bono? very pointedly implicated Mr. Pennifeather. His uncle had threatened him, after making a will in his favor, with disinheritance. But the threat had not been actually kept; the original will, it appeared, had not been altered. Had it been altered, the only supposable motive for murder on the part of the suspected would have been the ordinary one of revenge; and even this would have been counteracted by the hope of reinstation into the good graces of the uncle. But the will being unaltered, while the threat to alter remained suspended over the nephew's head, there appears at once the very strongest possible inducement for the atrocity; and so concluded very sagaciously, the worthy citizens of the borough of Rattle.

Mr. Pennifeather was, accordingly, arrested upon the spot, and the crowd, after some further search, proceeded homeward, having him in custody. On the route, however, another circumstance occurred tending to confirm the suspicion entertained. Mr. Goodfellow, whose zeal led him to be always a little in advance of the party, was seen suddenly to run forward a few paces, stoop, and then apparently to pick up some small object from the grass. Having quickly examined it, he was observed too, to make a sort of attempt at concealing it in his coat pocket; but this action was noticed, as I say, and consequently prevented, when the object picked up was found to be a Spanish knife which a dozen persons at once recognized as belonging to Mr. Pennifeather. Moreover, his initials were engraved upon the handle. The blade of this knife was open and bloody.

No doubt now remained of the guilt of the nephew, and immediately upon reaching Rattleborough he was taken before a magistrate for examination.

Here matters again took a most unfavorable turn. The prisoner, being questioned as to his whereabouts on the morning of Mr. Shuttleworthy's disappearance, had absolutely the audacity to acknowledge that on that very morning he had been out with his rifle deer-stalking, in the immediate neighborhood of the pool where the bloodstained waistcoat had been discovered through the sagacity of Mr. Goodfellow.

This latter now came forward, and, with tears in his eyes, asked permission to be examined. He said that a stern sense of the duty he owed his Maker, not less than his fellow-men, would permit him no longer to remain silent. Hitherto, the sincerest affection for the young man (notwithstanding the latter's ill-treatment of himself, Mr. Goodfellow), had induced him to make every hypothesis which imagination could suggest, by way of endeavoring to account for what appeared suspicious in the circumstances that told so seriously against Mr. Pennifeather; but these circumstances were now altogether too convincing—too damning; he would hesitate no longer—he would tell all he knew, although his heart (Mr. Goodfellow's), should absolutely burst asunder in the effort. He then went on to state that on the afternoon of the day previous to Mr. Shuttleworthy's departure for the city, that worthy old gentleman had mentioned to his nephew, in his hearing (Mr. Goodfellow's), that his object in going to town on the morrow was to make a deposit of an unusually large sum of money in the "Farmers' and Merchants' Bank," and that, then and there, the said Mr. Shuttleworthy had distinctly avowed to the said nephew his irrevocable determination of rescinding the will originally made, and of cutting him off with a shilling. He (the witness) now solemnly called upon the accused to state whether what he (the witness) had just stated was or was not the truth in every substantial particular. Much to the astonishment of every one present, Mr. Pennifeather frankly admitted that it was.