THE BEST
AMERICAN HUMOROUS
SHORT STORIES

Edited by
ALEXANDER JESSUP

Editor of “Representative American Short Stories,”
“The Book of the Short Story,” the “Little
French Masterpieces” Series, etc.

INTRODUCTION

This volume does not aim to contain all “the best American humorous short stories”; there are many other stories equally as good, I suppose, in much the same vein, scattered through the range of American literature. I have tried to keep a certain unity of aim and impression in selecting these stories. In the first place I determined that the pieces of brief fiction which I included must first of all be not merely good stories, but good short stories. I put myself in the position of one who was about to select the best short stories in the whole range of American literature,[1] but who, just before he started to do this, was notified that he must refrain from selecting any of the best American short stories that did not contain the element of humor to a marked degree. But I have kept in mind the wide boundaries of the term humor, and also the fact that the humorous standard should be kept second—although a close second—to the short story standard.

In view of the necessary limitations as to the volume’s size, I could not hope to represent all periods of American literature adequately, nor was this necessary in order to give examples of the best that has been done in the short story in a humorous vein in American literature. Probably all types of the short story of humor are included here, at any rate. Not only copyright restrictions but in a measure my own opinion have combined to exclude anything by Joel Chandler Harris—Uncle Remus—from the collection. Harris is primarily—in his best work—a humorist, and only secondarily a short story writer. As a humorist he is of the first rank; as a writer of short stories his place is hardly so high. His humor is not mere funniness and diversion; he is a humorist in the fundamental and large sense, as are Cervantes, Rabelais, and Mark Twain.

No book is duller than a book of jokes, for what is refreshing in small doses becomes nauseating when perused in large assignments. Humor in literature is at its best not when served merely by itself but when presented along with other ingredients of literary force in order to give a wide representation of life. Therefore “professional literary humorists,” as they may be called, have not been much considered in making up this collection. In the history of American humor there are three names which stand out more prominently than all others before Mark Twain, who, however, also belongs to a wider classification: “Josh Billings” (Henry Wheeler Shaw, 1815–1885), “Petroleum V. Nasby” (David Ross Locke, 1833–1888), and “Artemus Ward” (Charles Farrar Browne, 1834–1867). In the history of American humor these names rank high; in the field of American literature and the American short story they do not rank so high. I have found nothing of theirs that was first-class both as humor and as short story. Perhaps just below these three should be mentioned George Horatio Derby (1823–1861), author of Phoenixiana (1855) and the Squibob Papers (1859), who wrote under the name “John Phoenix.” As has been justly said, “Derby, Shaw, Locke and Browne carried to an extreme numerous tricks already invented by earlier American humorists, particularly the tricks of gigantic exaggeration and calm-faced mendacity, but they are plainly in the main channel of American humor, which had its origin in the first comments of settlers upon the conditions of the frontier, long drew its principal inspiration from the differences between that frontier and the more settled and compact regions of the country, and reached its highest development in Mark Twain, in his youth a child of the American frontier, admirer and imitator of Derby and Browne, and eventually a man of the world and one of its greatest humorists.”[2] Nor have such later writers who were essentially humorists as “Bill Nye” (Edgar Wilson Nye, 1850–1896) been considered, because their work does not attain the literary standard and the short story standard as creditably as it does the humorous one. When we come to the close of the nineteenth century the work of such men as “Mr. Dooley” (Finley Peter Dunne, 1867- ) and George Ade (1866- ) stands out. But while these two writers successfully conform to the exacting critical requirements of good humor and—especially the former—of good literature, neither—though Ade more so—attains to the greatest excellence of the short story. Mr. Dooley of the Archey Road is essentially a wholesome and wide-poised humorous philosopher, and the author of Fables in Slang is chiefly a satirist, whether in fable, play or what not.

This volume might well have started with something by Washington Irving, I suppose many critics would say. It does not seem to me, however, that Irving’s best short stories, such as The Legend of Sleepy Hollow and Rip Van Winkle, are essentially humorous stories, although they are o’erspread with the genial light of reminiscence. It is the armchair geniality of the eighteenth century essayists, a constituent of the author rather than of his material and product. Irving’s best humorous creations, indeed, are scarcely short stories at all, but rather essaylike sketches, or sketchlike essays. James Lawson (1799–1880) in his Tales and Sketches: by a Cosmopolite (1830), notably in The Dapper Gentleman’s Story, is also plainly a follower of Irving. We come to a different vein in the work of such writers as William Tappan Thompson (1812–1882), author of the amusing stories in letter form, Major Jones’s Courtship (1840); Johnson Jones Hooper (1815–1862), author of Widow Rugby’s Husband, and Other Tales of Alabama (1851); Joseph G. Baldwin (1815–1864), who wrote The Flush Times of Alabama and Mississippi (1853); and Augustus Baldwin Longstreet (1790–1870), whose Georgia Scenes (1835) are as important in “local color” as they are racy in humor. Yet none of these writers yield the excellent short story which is also a good piece of humorous literature. But they opened the way for the work of later writers who did attain these combined excellences.

The sentimental vein of the midcentury is seen in the work of Seba Smith (1792–1868), Eliza Leslie (1787–1858), Frances Miriam Whitcher (“Widow Bedott,” 1811–1852), Mary W. Janvrin (1830–1870), and Alice Bradley Haven Neal (1828–1863). The well-known work of Joseph Clay Neal (1807–1847) is so all pervaded with caricature and humor that it belongs with the work of the professional humorist school rather than with the short story writers. To mention his Charcoal Sketches, or Scenes in a Metropolis (1837–1849) must suffice. The work of Seba Smith is sufficiently expressed in his title, Way Down East, or Portraitures of Yankee Life (1854), although his Letters of Major Jack Downing (1833) is better known. Of his single stories may be mentioned The General Court and Jane Andrews’ Firkin of Butter (October, 1847, Graham’s Magazine). The work of Frances Miriam Whitcher (“Widow Bedott”) is of somewhat finer grain, both as humor and in other literary qualities. Her stories or sketches, such as Aunt Magwire’s Account of Parson Scrantum’s Donation Party (March, 1848, Godey’s Lady’s Book) and Aunt Magwire’s Account of the Mission to Muffletegawmy (July, 1859, Godey’s), were afterwards collected in The Widow Bedott Papers (1855-56-80). The scope of the work of Mary B. Haven is sufficiently suggested by her story, Mrs. Bowen’s Parlor and Spare Bedroom (February, 1860, Godey’s), while the best stories of Mary W. Janvrin include The Foreign Count; or, High Art in Tattletown (October, 1860, Godey’s) and City Relations; or, the Newmans’ Summer at Clovernook (November, 1861, Godey’s). The work of Alice Bradley Haven Neal is of somewhat similar texture. Her book, The Gossips of Rivertown, with Sketches in Prose and Verse (1850) indicates her field, as does the single title, The Third-Class Hotel (December, 1861, Godey’s). Perhaps the most representative figure of this school is Eliza Leslie (1787–1858), who as “Miss Leslie” was one of the most frequent contributors to the magazines of the 1830’s, 1840’s and 1850’s. One of her best stories is The Watkinson Evening (December, 1846, Godey’s Lady’s Book), included in the present volume; others are The Batson Cottage (November, 1846, Godey’s Lady’s Book) and Juliet Irwin; or, the Carriage People (June, 1847, Godey’s Lady’s Book). One of her chief collections of stories is Pencil Sketches (1833–1837). “Miss Leslie,” wrote Edgar Allan Poe, “is celebrated for the homely naturalness of her stories and for the broad satire of her comic style.” She was the editor of The Gift one of the best annuals of the time, and in that position perhaps exerted her chief influence on American literature When one has read three or four representative stories by these seven authors one can grasp them all. Their titles as a rule strike the keynote. These writers, except “the Widow Bedott,” are perhaps sentimentalists rather than humorists in intention, but read in the light of later days their apparent serious delineations of the frolics and foibles of their time take on a highly humorous aspect.

George Pope Morris (1802–1864) was one of the founders of The New York Mirror, and for a time its editor. He is best known as the author of the poem, Woodman, Spare That Tree, and other poems and songs. The Little Frenchman and His Water Lots (1839), the first story in the present volume, is selected not because Morris was especially prominent in the field of the short story or humorous prose but because of this single story’s representative character. Edgar Allan Poe (1809–1849) follows with The Angel of the Odd (October, 1844, Columbian Magazine), perhaps the best of his humorous stories. The System of Dr. Tarr and Prof. Fether (November, 1845, Graham’s Magazine) may be rated higher, but it is not essentially a humorous story. Rather it is incisive satire, with too biting an undercurrent to pass muster in the company of the genial in literature. Poe’s humorous stories as a whole have tended to belittle rather than increase his fame, many of them verging on the inane. There are some, however, which are at least excellent fooling; few more than that.

Probably this is hardly the place for an extended discussion of Poe, since the present volume covers neither American literature as a whole nor the American short story in general, and Poe is not a humorist in his more notable productions. Let it be said that Poe invented or perfected—more exactly, perfected his own invention of—the modern short story; that is his general and supreme achievement. He also stands superlative for the quality of three varieties of short stories, those of terror, beauty and ratiocination. In the first class belong A Descent into the Maelstrom (1841), The Pit and the Pendulum (1842), The Black Cat (1843), and The Cask of Amontillado (1846). In the realm of beauty his notable productions are The Assignation (1834), Shadow: a Parable (1835), Ligeia (1838), The Fall of the House of Usher (1839), Eleonora (1841), and The Masque of the Red Death (1842). The tales of ratiocination—what are now generally termed detective stories—include The Murders in the Rue Morgue (1841) and its sequel, The Mystery of Marie Rogêt (1842–1843), The Gold-Bug (1843), The Oblong Box (1844), “Thou Art the Man” (1844), and The Purloined Letter (1844).

Then, too, Poe was a master of style, one of the greatest in English prose, possibly the greatest since De Quincey, and quite the most remarkable among American authors. Poe’s influence on the short story form has been tremendous. Although the effects of structure may be astounding in their power or unexpectedness, yet the means by which these effects are brought about are purely mechanical. Any student of fiction can comprehend them, almost any practitioner of fiction with a bent toward form can fairly master them. The merit of any short story production depends on many other elements as well—the value of the structural element to the production as a whole depends first on the selection of the particular sort of structural scheme best suited to the story in hand, and secondly, on the way in which this is combined with the piece of writing to form a well-balanced whole. Style is more difficult to imitate than structure, but on the other hand the origin of structural influence is more difficult to trace than that of style. So while, in a general way, we feel that Poe’s influence on structure in the short story has been great, it is difficult rather than obvious to trace particular instances. It is felt in the advance of the general level of short story art. There is nothing personal about structure—there is everything personal about style. Poe’s style is both too much his own and too superlatively good to be successfully imitated—whom have we had who, even if he were a master of structural effects, could be a second Poe? Looking at the matter in another way, Poe’s style is not his own at all. There is nothing “personal” about it in the petty sense of that term. Rather we feel that, in the case of this author, universality has been attained. It was Poe’s good fortune to be himself in style, as often in content, on a plane of universal appeal. But in some general characteristics of his style his work can be, not perhaps imitated, but emulated. Greater vividness, deft impressionism, brevity that strikes instantly to a telling effect—all these an author may have without imitating any one’s style but rather imitating excellence. Poe’s “imitators” who have amounted to anything have not tried to imitate him but to vie with him. They are striving after perfectionism. Of course the sort of good style in which Poe indulged is not the kind of style—or the varieties of style—suited for all purposes, but for the purposes to which it is adapted it may well be called supreme.

Then as a poet his work is almost or quite as excellent in a somewhat more restricted range. In verse he is probably the best artist in American letters. Here his sole pursuit was beauty, both of form and thought; he is vivid and apt, intensely lyrical but without much range of thought. He has deep intuitions but no comprehensive grasp of life.

His criticism is, on the whole, the least important part of his work. He had a few good and brilliant ideas which came at just the right time to make a stir in the world, and these his logical mind and telling style enabled him to present to the best advantage. As a critic he is neither broad-minded, learned, nor comprehensive. Nor is he, except in the few ideas referred to, deep. He is, however, limitedly original—perhaps intensely original within his narrow scope. But the excellences and limitations of Poe in any one part of his work were his limitations and excellences in all.

As Poe’s best short stories may be mentioned: Metzengerstein (Jan. 14, 1832, Philadelphia Saturday Courier), Ms. Found in a Bottle (October 19, 1833, Baltimore Saturday Visiter), The Assignation (January, 1834, Godey’s Lady’s Book), Berenice (March, 1835, Southern Literary Messenger), Morella (April, 1835, Southern Literary Messenger), The Unparalleled Adventure of One Hans Pfaall (June, 1835, Southern Literary Messenger), King Pest: a Tale Containing an Allegory (September, 1835, Southern Literary Messenger), Shadow: a Parable (September, 1835, Southern Literary Messenger), Ligeia (September, 1838, American Museum), The Fall of the House of Usher (September, 1839, Burton’s Gentleman’s Magazine), William Wilson (1839: Gift for 1840), The Conversation of Eiros and Charmion (December, 1839, Burton’s Gentleman’s Magazine), The Murders in the Rue Morgue (April, 1841, Graham’s Magazine), A Descent into the Maelstrom (May, 1841, Graham’s Magazine), Eleonora (1841: Gift for 1842), The Masque of the Red Death (May, 1842, Graham’s Magazine), The Pit and the Pendulum (1842: Gift for 1843), The Tell-Tale Heart (January, 1843, Pioneer), The Gold-Bug (June 21 and 28, 1843, Dollar Newspaper), The Black Cat (August 19, 1843, United States Saturday Post), The Oblong Box (September, 1844, Godey’s Lady’s Book), The Angel of the Odd (October, 1844, Columbian Magazine), “Thou Art the Man” (November, 1844, Godey’s Lady’s Book), The Purloined Letter (1844: Gift for 1845), The Imp of the Perverse (July, 1845, Graham’s Magazine), The System of Dr. Tarr and Prof. Fether (November, 1845, Graham’s Magazine), The Facts in the Case of M. Valdemar (December, 1845, American Whig Review), The Cask of Amontillado (November, 1846, Godey’s Lady’s Book), and Lander’s Cottage (June 9, 1849, Flag of Our Union). Poe’s chief collections are: Tales of the Grotesque and Arabesque (1840), Tales (1845), and The Works of the Late Edgar Allan Poe (1850–56). These titles have been dropped from recent editions of his works, however, and the stories brought together under the title Tales, or under subdivisions furnished by his editors, such as Tales of Ratiocination, etc.

Caroline Matilda Stansbury Kirkland (1801–1864) wrote of the frontier life of the Middle West in the mid-nineteenth century. Her principal collection of short stories is Western Clearings (1845), from which The Schoolmaster’s Progress, first published in The Gift for 1845 (out in 1844), is taken. Other stories republished in that collection are The Ball at Thram’s Huddle (April, 1840, Knickerbocker Magazine), Recollections of the Land-Fever (September, 1840, Knickerbocker Magazine), and The Bee-Tree (The Gift for 1842; out in 1841). Her description of the country schoolmaster, “a puppet cut out of shingle and jerked by a string,” and the local color in general of this and other stories give her a leading place among the writers of her period who combined fidelity in delineating frontier life with sufficient fictional interest to make a pleasing whole of permanent value.

George William Curtis (1824–1892) gained his chief fame as an essayist, and probably became best known from the department which he conducted, from 1853, as The Editor’s Easy Chair for Harper’s Magazine for many years. His volume, Prue and I (1856), contains many fictional elements, and a story from it, Titbottom’s Spectacles, which first appeared in Putnam’s Monthly for December, 1854, is given in this volume because it is a good humorous short story rather than because of its author’s general eminence in this field. Other stories of his worth noting are The Shrouded Portrait (in The Knickerbocker Gallery, 1855) and The Millenial Club (November, 1858, Knickerbocker Magazine).

Edward Everett Hale (1822–1909) is chiefly known as the author of the short story, The Man Without a Country (December, 1863, Atlantic Monthly), but his venture in the comic vein, My Double; and How He Undid Me (September, 1859, Atlantic Monthly), is equally worthy of appreciation. It was his first published story of importance. Other noteworthy stories of his are: The Brick Moon (October, November and December, 1869, Atlantic Monthly), Life in the Brick Moon (February, 1870, Atlantic Monthly), and Susan’s Escort (May, 1890, Harper’s Magazine). His chief volumes of short stories are: The Man Without a Country, and Other Tales (1868); The Brick Moon, and Other Stories (1873); Crusoe in New York, and Other Tales (1880); and Susan’s Escort, and Others (1897). The stories by Hale which have made his fame all show ability of no mean order; but they are characterized by invention and ingenuity rather than by suffusing imagination. There is not much homogeneity about Hale’s work. Almost any two stories of his read as if they might have been written by different authors. For the time being perhaps this is an advantage—his stories charm by their novelty and individuality. In the long run, however, this proves rather a handicap. True individuality, in literature as in the other arts, consists not in “being different” on different occasions—in different works—so much as in being samely different from other writers; in being consistently one’s self, rather than diffusedly various selves. This does not lessen the value of particular stories, of course. It merely injures Hale’s fame as a whole. Perhaps some will chiefly feel not so much that his stories are different among themselves, but that they are not strongly anything—anybody’s—in particular, that they lack strong personality. The pathway to fame is strewn with stray exhibitions of talent. Apart from his purely literary productions, Hale was one of the large moral forces of his time, through “uplift” both in speech and the written word.

Oliver Wendell Holmes (1809–1894), one of the leading wits of American literature, is not at all well known as a short story writer, nor did he write many brief pieces of fiction. His fame rests chiefly on his poems and on the Breakfast-Table books (1858-1860-1872-1890). Old Ironsides, The Last Leaf, The Chambered Nautilus and Homesick in Heaven are secure of places in the anthologies of the future, while his lighter verse has made him one of the leading American writers of “familiar verse.” Frederick Locker-Lampson in the preface to the first edition of his Lyra Elegantiarum (1867) declared that Holmes was “perhaps the best living writer of this species of verse.” His trenchant attack on Homeopathy and Its Kindred Delusions (1842) makes us wonder what would have been his attitude toward some of the beliefs of our own day; Christian Science, for example. He might have “exposed” it under some such title as The Religio-Medical Masquerade, or brought the batteries of his humor to bear on it in the manner of Robert Louis Stevenson’s fable, Something In It: “Perhaps there is not much in it, as I supposed; but there is something in it after all. Let me be thankful for that.” In Holmes’ long works of fiction, Elsie Venner (1861), The Guardian Angel (1867) and A Mortal Antipathy (1885), the method is still somewhat that of the essayist. I have found a short piece of fiction by him in the March, 1832, number of The New England Magazine, called The Début, signed O.W.H. The Story of Iris in The Professor at the Breakfast Table, which ran in The Atlantic throughout 1859, and A Visit to the Asylum for Aged and Decayed Punsters (January, 1861, Atlantic) are his only other brief fictions of which I am aware. The last named has been given place in the present selection because it is characteristic of a certain type and period of American humor, although its short story qualities are not particularly strong.

Samuel Langhorne Clemens (1835–1910), who achieved fame as “Mark Twain,” is only incidentally a short story writer, although he wrote many short pieces of fiction. His humorous quality, I mean, is so preponderant, that one hardly thinks of the form. Indeed, he is never very strong in fictional construction, and of the modern short story art he evidently knew or cared little. He is a humorist in the large sense, as are Rabelais and Cervantes, although he is also a humorist in various restricted applications of the word that are wholly American. The Celebrated Jumping Frog of Calaveras County was his first publication of importance, and it saw the light in the Nov. 18, 1865, number of The Saturday Press. It was republished in the collection, The Celebrated Jumping Frog of Calaveras County, and Other Sketches, in 1867. Others of his best pieces of short fiction are: The Canvasser’s Tale (December, 1876, Atlantic Monthly), The £1,000,000 Bank Note (January, 1893, Century Magazine), The Esquimau Maiden’s Romance (November, 1893, Cosmopolitan), Traveling with a Reformer (December, 1893, Cosmopolitan), The Man That Corrupted Hadleyburg (December, 1899, Harper’s), A Double-Barrelled Detective Story (January and February, 1902, Harper’s) A Dog’s Tale (December, 1903, Harper’s), and Eve’s Diary (December, 1905, Harper’s). Among Twain’s chief collections of short stories are: The Celebrated Jumping Frog of Calaveras County, and Other Sketches (1867); The Stolen White Elephant (1882), The £1,000,000 Bank Note (1893), and The Man That Corrupted Hadleyburg, and Other Stories and Sketches (1900).

Harry Stillwell Edwards (1855– ), a native of Georgia, together with Sarah Barnwell Elliott (? – ) and Will N. Harben (1858–1919) have continued in the vein of that earlier writer, Augustus Baldwin Longstreet (1790–1870), author of Georgia Scenes (1835). Edwards’ best work is to be found in his short stories of black and white life after the manner of Richard Malcolm Johnston. He has written several novels, but he is essentially a writer of human-nature sketches. “He is humorous and picturesque,” says Fred Lewis Pattee, “and often he is for a moment the master of pathos, but he has added nothing new and nothing commandingly distinctive.”[3] An exception to this might be made in favor of Elder Brown’s Backslide (August, 1885, Harper’s), a story in which all the elements are so nicely balanced that the result may well be called a masterpiece of objective humor and pathos. Others of his short stories especially worthy of mention are: Two Runaways (July, 1886, Century), Sister Todhunter’s Heart (July, 1887, Century), “De Valley an’ de Shadder” (January, 1888, Century), An Idyl of “Sinkin’ Mount’in” (October, 1888, Century), The Rival Souls (March, 1889, Century), The Woodhaven Goat (March, 1899, Century), and The Shadow (December, 1906, Century). His chief collections are Two Runaways, and Other Stories (1889) and His Defense, and Other Stories (1898).

The most notable, however, of the group of short story writers of Georgia life is perhaps Richard Malcolm Johnston (1822–1898). He stands between Longstreet and the younger writers of Georgia life. His first book was Georgia Sketches, by an Old Man (1864). The Goose Pond School, a short story, had been written in 1857; it was not published, however, till it appeared in the November and December, 1869, numbers of a Southern magazine, The New Eclectic, over the pseudonym “Philemon Perch.” His famous Dukesborough Tales (1871–1874) was largely a republication of the earlier book. Other noteworthy collections of his are: Mr. Absalom Billingslea and Other Georgia Folk (1888), Mr. Fortner’s Marital Claims, and Other Stories (1892), and Old Times in Middle Georgia (1897). Among individual stories stand out: The Organ-Grinder (July, 1870, New Eclectic), Mr. Neelus Peeler’s Conditions (June, 1879, Scribner’s Monthly), The Brief Embarrassment of Mr. Iverson Blount (September, 1884, Century); The Hotel Experience of Mr. Pink Fluker (June, 1886, Century), republished in the present collection; The Wimpy Adoptions (February, 1887, Century), The Experiments of Miss Sally Cash (September, 1888, Century), and Our Witch (March, 1897, Century). Johnston must be ranked almost with Bret Harte as a pioneer in “local color” work, although his work had little recognition until his Dukesborough Tales were republished by Harper & Brothers in 1883.

Bret Harte (1839–1902) is mentioned here owing to the late date of his story included in this volume, Colonel Starbottle for the Plaintiff (March, 1901, Harper’s), although his work as a whole of course belongs to an earlier period of our literature. It is now well-thumbed literary history that The Luck of Roaring Camp (August, 1868, Overland) and The Outcasts of Poker Flat (January, 1869, Overland) brought him a popularity that, in its suddenness and extent, had no precedent in American literature save in the case of Mrs. Stowe and Uncle Tom’s Cabin. According to Harte’s own statement, made in the retrospect of later years, he set out deliberately to add a new province to American literature. Although his work has been belittled because he has chosen exceptional and theatric happenings, yet his real strength came from his contact with Western life.

Irving and Dickens and other models served only to teach him his art. “Finally,” says Prof. Pattee, “Harte was the parent of the modern form of the short story. It was he who started Kipling and Cable and Thomas Nelson Page. Few indeed have surpassed him in the mechanics of this most difficult of arts. According to his own belief, the form is an American product ... Harte has described the genesis of his own art. It sprang from the Western humor and was developed by the circumstances that surrounded him. Many of his short stories are models. They contain not a superfluous word, they handle a single incident with grapic power, they close without moral or comment. The form came as a natural evolution from his limitations and powers. With him the story must of necessity be brief.... Bret Harte was the artist of impulse, the painter of single burning moments, the flashlight photographer who caught in lurid detail one dramatic episode in the life of a man or a community and left the rest in darkness.”[4]

Harte’s humor is mostly “Western humor” There is not always uproarious merriment, but there is a constant background of humor. I know of no more amusing scene in American literature than that in the courtroom when the Colonel gives his version of the deacon’s method of signaling to the widow in Harte’s story included in the present volume, Colonel Starbottle for the Plaintiff. Here is part of it:

True to the instructions she had received from him, her lips part in the musical utterance (the Colonel lowered his voice in a faint falsetto, presumably in fond imitation of his fair client) “Kerree!” Instantly the night becomes resonant with the impassioned reply (the Colonel here lifted his voice in stentorian tones), “Kerrow!” Again, as he passes, rises the soft “Kerree!”; again, as his form is lost in the distance, comes back the deep “Kerrow!”

While Harte’s stories all have in them a certain element or background of humor, yet perhaps the majority of them are chiefly romantic or dramatic even more than they are humorous.

Among the best of his short stories may be mentioned: The Luck of Roaring Camp (August, 1868, Overland), The Outcasts of Poker Flat (January, 1869, Overland), Tennessee’s Partner (October, 1869, Overland), Brown of Calaveras (March, 1870, Overland), Flip: a California Romance (in Flip, and Other Stories, 1882), Left Out on Lone Star Mountain (January, 1884, Longman’s), An Ingenue of the Sierras (July, 1894, McClure’s), The Bell-Ringer of Angel’s (in The Bell-Ringer of Angel’s, and Other Stories, 1894), Chu Chu (in The Bell-Ringer of Angel’s, and Other Stories, 1894), The Man and the Mountain (in The Ancestors of Peter Atherly, and Other Tales, 1897), Salomy Jane’s Kiss (in Stories in Light and Shadow, 1898), The Youngest Miss Piper (February, 1900, Leslie’s Monthly), Colonel Starbottle for the Plaintiff (March, 1901, Harper’s), A Mercury of the Foothills (July, 1901, Cosmopolitan), Lanty Foster’s Mistake (December, 1901, New England), An Ali Baba of the Sierras (January 4, 1902, Saturday Evening Post), and Dick Boyle’s Business Card (in Trent’s Trust, and Other Stories, 1903). Among his notable collections of stories are: The Luck of Roaring Camp, and Other Sketches (1870), Flip, and Other Stories (1882), On the Frontier (1884), Colonel Starbottle’s Client, and Some Other People (1892), A Protégé of Jack Hamlin’s, and Other Stories (1894), The Bell-Ringer of Angel’s, and Other Stories (1894), The Ancestors of Peter Atherly, and Other Tales (1897), Openings in the Old Trail (1902), and Trent’s Trust, and Other Stories (1903). The titles and makeup of several of his collections were changed when they came to be arranged in the complete edition of his works.[5]

Henry Cuyler Bunner (1855–1896) is one of the humorous geniuses of American literature. He is equally at home in clever verse or the brief short story. Prof. Fred Lewis Pattee has summed up his achievement as follows: “Another [than Stockton] who did much to advance the short story toward the mechanical perfection it had attained to at the close of the century was Henry Cuyler Bunner, editor of Puck and creator of some of the most exquisite vers de société of the period. The title of one of his collections, Made in France: French Tales Retold with a U.S. Twist (1893), forms an introduction to his fiction. Not that he was an imitator; few have been more original or have put more of their own personality into their work. His genius was Gallic. Like Aldrich, he approached the short story from the fastidious standpoint of the lyric poet. With him, as with Aldrich, art was a matter of exquisite touches, of infinite compression, of almost imperceptible shadings. The lurid splashes and the heavy emphasis of the local colorists offended his sensitive taste: he would work with suggestion, with microscopic focussings, and always with dignity and elegance. He was more American than Henry James, more even than Aldrich. He chose always distinctively American subjects—New York City was his favorite theme—and his work had more depth of soul than Stockton’s or Aldrich’s. The story may be trivial, a mere expanded anecdote, yet it is sure to be so vitally treated that, like Maupassant’s work, it grips and remains, and, what is more, it lifts and chastens or explains. It may be said with assurance that Short Sixes marks one of the high places which have been attained by the American short story.”[6]

Among Bunner’s best stories are: Love in Old Cloathes (September, 1883, Century), A Successful Failure (July, 1887, Puck), The Love-Letters of Smith (July 23, 1890, Puck) The Nice People (July 30, 1890, Puck), The Nine Cent-Girls (August 13, 1890, Puck), The Two Churches of ’Quawket (August 27, 1890, Puck), A Round-Up (September 10, 1890, Puck), A Sisterly Scheme (September 24, 1890, Puck), Our Aromatic Uncle (August, 1895, Scribner’s), The Time-Table Test (in The Suburban Sage, 1896). He collaborated with Prof. Brander Matthews in several stories, notably in The Documents in the Case (Sept., 1879, Scribner’s Monthly). His best collections are: Short Sixes: Stories to be Read While the Candle Burns (1891), More Short Sixes (1894), and Love in Old Cloathes, and Other Stories (1896).

After Poe and Hawthorne almost the first author in America to make a vertiginous impression by his short stories was Bret Harte. The wide and sudden popularity he attained by the publication of his two short stories, The Luck of Roaring Camp (1868) and The Outcasts of Poker Flat (1869), has already been noted.[7] But one story just before Harte that astonished the fiction audience with its power and art was Harriet Prescott Spofford’s (1835– ) The Amber Gods (January and February, 1860, Atlantic), with its startling ending, “I must have died at ten minutes past one.” After Harte the next story to make a great sensation was Thomas Bailey Aldrich’s Marjorie Daw (April, 1873, Atlantic), a story with a surprise at the end, as had been his A Struggle for Life (July, 1867, Atlantic), although it was only Marjorie Daw that attracted much attention at the time. Then came George Washington Cable’s (1844– ) “Posson Jone’,” (April 1, 1876, Appleton’s Journal) and a little later Charles Egbert Craddock’s (1850– ) The Dancin’ Party at Harrison’s Cove (May, 1878, Atlantic) and The Star in the Valley (November, 1878, Atlantic). But the work of Cable and Craddock, though of sterling worth, won its way gradually. Even Edward Everett Hale’s (1822–1909) My Double; and How He Undid Me (September, 1859, Atlantic) and The Man Without a Country (December, 1863, Atlantic) had fallen comparatively still-born. The truly astounding short story successes, after Poe and Hawthorne, then, were Spofford, Bret Harte and Aldrich. Next came Frank Richard Stockton (1834–1902). “The interest created by the appearance of Marjorie Daw,” says Prof. Pattee, “was mild compared with that accorded to Frank R. Stockton’s The Lady or the Tiger? (1884). Stockton had not the technique of Aldrich nor his naturalness and ease. Certainly he had not his atmosphere of the beau monde and his grace of style, but in whimsicality and unexpectedness and in that subtle art that makes the obviously impossible seem perfectly plausible and commonplace he surpassed not only him but Edward Everett Hale and all others. After Stockton and The Lady or the Tiger? it was realized even by the uncritical that short story writing had become a subtle art and that the master of its subtleties had his reader at his mercy.”[8] The publication of Stockton’s short stories covers a period of over forty years, from Mahala’s Drive (November, 1868, Lippincott’s) to The Trouble She Caused When She Kissed (December, 1911, Ladies’ Home Journal), published nine years after his death. Among the more notable of his stories may be mentioned: The Transferred Ghost (May, 1882, Century), The Lady or the Tiger? (November, 1882, Century), The Reversible Landscape (July, 1884, Century), The Remarkable Wreck of the “Thomas Hyke” (August, 1884, Century), “His Wife’s Deceased Sister” (January, 1884, Century), A Tale of Negative Gravity (December, 1884, Century), The Christmas Wreck (in The Christmas Wreck, and Other Stories, 1886), Amos Kilbright (in Amos Kilbright, His Adscititious Experiences, with Other Stories, 1888), Asaph (May, 1892, Cosmopolitan), My Terminal Moraine (April 26, 1892, Collier’s Once a Week Library), The Magic Egg (June, 1894, Century), The Buller-Podington Compact (August, 1897, Scribner’s), and The Widow’s Cruise (in A Story-Teller’s Pack, 1897). Most of his best work was gathered into the collections: The Lady or the Tiger?, and Other Stories (1884), The Bee-Man of Orn, and Other Fanciful Tales (1887), Amos Kilbright, His Adscititious Experiences, with Other Stories (1888), The Clocks of Rondaine, and Other Stories (1892), A Chosen Few (1895), A Story-Teller’s Pack (1897), and The Queen’s Museum, and Other Fanciful Tales (1906).

After Stockton and Bunner come O. Henry (1862–1910) and Jack London (1876–1916), apostles of the burly and vigorous in fiction. Beside or above them stand Henry James (1843–1916)—although he belongs to an earlier period as well—Edith Wharton (1862– ), Alice Brown (1857– ), Margaret Wade Deland (1857– ), and Katharine Fullerton Gerould (1879– ), practitioners in all that O. Henry and London are not, of the finer fields, the more subtle nuances of modern life. With O. Henry and London, though perhaps less noteworthy, are to be grouped George Randolph Chester (1869– ) and Irvin Shrewsbury Cobb (1876– ). Then, standing rather each by himself, are Melville Davisson Post (1871– ), a master of psychological mystery stories, and Wilbur Daniel Steele (1886– ), whose work it is hard to classify. These ten names represent much that is best in American short story production since the beginning of the twentieth century (1900). Not all are notable for humor; but inasmuch as any consideration of the American humorous short story cannot be wholly dissociated from a consideration of the American short story in general, it has seemed not amiss to mention these authors here. Although Sarah Orne Jewett (1849–1909) lived on into the twentieth century and Mary E. Wilkins Freeman (1862– ) is still with us, the best and most typical work of these two writers belongs in the last two decades of the previous century. To an earlier period also belong Charles Egbert Craddock (1850– ), George Washington Cable (1844– ), Thomas Nelson Page (1853– ), Constance Fenimore Woolson (1848–1894), Harriet Prescott Spofford (1835– ), Hamlin Garland (1860– ), Ambrose Bierce (1842–?), Rose Terry Cooke (1827–1892), and Kate Chopin (1851–1904).

“O. Henry” was the pen name adopted by William Sydney Porter. He began his short story career by contributing Whistling Dick’s Christmas Stocking to McClure’s Magazine in 1899. He followed it with many stories dealing with Western and South- and Central-American life, and later came most of his stories of the life of New York City, in which field lies most of his best work. He contributed more stories to the New York World than to any other one publication—as if the stories of the author who later came to be hailed as “the American Maupassant” were not good enough for the “leading” magazines but fit only for the sensation-loving public of the Sunday papers! His first published story that showed distinct strength was perhaps A Blackjack Bargainer (August, 1901, Munsey’s). He followed this with such masterly stories as: The Duplicity of Hargraves (February, 1902, Junior Munsey), The Marionettes (April, 1902, Black Cat), A Retrieved Reformation (April, 1903, Cosmopolitan), The Guardian of the Accolade (May, 1903, Cosmopolitan), The Enchanted Kiss (February, 1904, Metropolitan), The Furnished Room (August 14, 1904, New York World), An Unfinished Story (August, 1905, McClure’s), The Count and the Wedding Guest (October 8, 1905, New York World), The Gift of the Magi (December 10, 1905, New York World), The Trimmed Lamp (August, 1906, McClure’s), Phoebe (November, 1907, Everybody’s), The Hiding of Black Bill (October, 1908, Everybody’s), No Story (June, 1909, Metropolitan), A Municipal Report (November, 1909, Hampton’s), A Service of Love (in The Four Million, 1909), The Pendulum (in The Trimmed Lamp, 1910), Brickdust Row (in The Trimmed Lamp, 1910), and The Assessor of Success (in The Trimmed Lamp, 1910). Among O. Henry’s best volumes of short stories are: The Four Million (1909), Options (1909), Roads of Destiny (1909), The Trimmed Lamp (1910), Strictly Business: More Stories of the Four Million (1910), Whirligigs (1910), and Sixes and Sevens (1911).

“Nowhere is there anything just like them. In his best work—and his tales of the great metropolis are his best—he is unique. The soul of his art is unexpectedness. Humor at every turn there is, and sentiment and philosophy and surprise. One never may be sure of himself. The end is always a sensation. No foresight may predict it, and the sensation always is genuine. Whatever else O. Henry was, he was an artist, a master of plot and diction, a genuine humorist, and a philosopher. His weakness lay in the very nature of his art. He was an entertainer bent only on amusing and surprising his reader. Everywhere brilliancy, but too often it is joined to cheapness; art, yet art merging swiftly into caricature. Like Harte, he cannot be trusted. Both writers on the whole may be said to have lowered the standards of American literature, since both worked in the surface of life with theatric intent and always without moral background, O. Henry moves, but he never lifts. All is fortissimo; he slaps the reader on the back and laughs loudly as if he were in a bar-room. His characters, with few exceptions, are extremes, caricatures. Even his shop girls, in the limning of whom he did his best work, are not really individuals; rather are they types, symbols. His work was literary vaudeville, brilliant, highly amusing, and yet vaudeville.”[9] The Duplicity of Hargraves, the story by O. Henry given in this volume, is free from most of his defects. It has a blend of humor and pathos that puts it on a plane of universal appeal.

George Randolph Chester (1869– ) gained distinction by creating the genial modern business man of American literature who is not content to “get rich quick” through the ordinary channels. Need I say that I refer to that amazing compound of likeableness and sharp practices, Get-Rich-Quick Wallingford? The story of his included in this volume, Bargain Day at Tutt House (June, 1905, McClure’s), was nearly his first story; only two others, which came out in The Saturday Evening Post in 1903 and 1904, preceded it. Its breathless dramatic action is well balanced by humor. Other stories of his deserving of special mention are: A Corner in Farmers (February, 29, 1908, Saturday Evening Post), A Fortune in Smoke (March 14, 1908, Saturday Evening Post), Easy Money (November 14, 1908, Saturday Evening Post), The Triple Cross (December 5, 1908, Saturday Evening Post), Spoiling the Egyptians (December 26, 1908, Saturday Evening Post), Whipsawed! (January 16, 1909, Saturday Evening Post), The Bubble Bank (January 30 and February 6, 1909, Saturday Evening Post), Straight Business (February 27, 1909, Saturday Evening Post), Sam Turner: a Business Man’s Love Story (March 26, April 2 and 9, 1910, Saturday Evening Post), Fundamental Justice (July 25, 1914, Saturday Evening Post), A Scropper Patcher (October, 1916, Everybody’s), and Jolly Bachelors (February, 1918, Cosmopolitan). His best collections are: Get-Rich-Quick Wallingford (1908), Young Wallingford (1910), Wallingford in His Prime (1913), and Wallingford and Blackie Daw (1913). It is often difficult to find in his books short stories that one may be looking for, for the reason that the titles of the individual stories have been removed in order to make the books look like novels subdivided into chapters.

Grace MacGowan Cooke (1863– ) is a writer all of whose work has interest and perdurable stuff in it, but few are the authors whose achievements in the American short story stand out as a whole. In A Call (August, 1906, Harper’s) she surpasses herself and is not perhaps herself surpassed by any of the humorous short stories that have come to the fore so far in America in the twentieth century. The story is no less delightful in its fidelity to fact and understanding of young human nature than in its relish of humor. Some of her stories deserving of special mention are: The Capture of Andy Proudfoot (June, 1904, Harper’s), In the Strength of the Hills (December, 1905, Metropolitan), The Machinations of Ocoee Gallantine (April, 1906, Century), A Call (August, 1906, Harper’s), Scott Bohannon’s Bond (May 4, 1907, Collier’s), and A Clean Shave (November, 1912, Century). Her best short stories do not seem to have been collected in volumes as yet, although she has had several notable long works of fiction published, such as The Power and the Glory (1910), and several good juveniles.

William James Lampton (?–1917), who was known to many of his admirers as Will Lampton or as W.J.L. merely, was one of the most unique and interesting characters of literary and Bohemian New York from about 1895 to his death in 1917. I remember walking up Fifth Avenue with him one Sunday afternoon just after he had shown me a letter from the man who was then Comptroller of the Currency. The letter was signed so illegibly that my companion was in doubts as to the sender, so he suggested that we stop at a well-known hotel at the corner of 59th Street, and ask the manager who the Comptroller of the Currency then was, so that he might know whom the letter was from. He said that the manager of a big hotel like that, where many prominent people stayed, would be sure to know. When this problem had been solved to our satisfaction, John Skelton Williams proving to be the man, Lampton said, “Now you’ve told me who he is, I’ll show you who I am.” So he asked for a copy of The American Magazine at a newsstand in the hotel corridor, opened it, and showed the manager a full-page picture of himself clad in a costume suggestive of the time of Christopher Columbus, with high ruffs around his neck, that happened to appear in the magazine the current month. I mention this incident to illustrate the lack of conventionality and whimsical originality of the man, that stood out no less forcibly in his writings than in his daily life. He had little use for “doing the usual thing in the usual sort of way.” He first gained prominence by his book of verse, Yawps (1900). His poems were free from convention in technique as well as in spirit, although their chief innovation was simply that as a rule there was no regular number of syllables in a line; he let the lines be any length they wanted to be, to fit the sense or the length of what he had to say. He once said to me that if anything of his was remembered he thought it would be his poem, Lo, the Summer Girl. His muse often took the direction of satire, but it was always good-natured even when it hit the hardest. He had in his makeup much of the detached philosopher, like Cervantes and Mark Twain.

There was something cosmic about his attitude to life, and this showed in much that he did. He was the only American writer of humorous verse of his day whom I always cared to read, or whose lines I could remember more than a few weeks. This was perhaps because his work was never merely humorous, but always had a big sweep of background to it, like the ruggedness of the Kentucky mountains from which he came. It was Colonel George Harvey, then editor of Harper’s Weekly, who had started the boom to make Woodrow Wilson President. Wilson afterwards, at least seemingly, repudiated his sponsor, probably because of Harvey’s identification with various moneyed interests. Lampton’s poem on the subject, with its refrain, “Never again, said Colonel George,” I remember as one of the most notable of his poems on current topics. But what always seemed to me the best of his poems dealing with matters of the hour was one that I suggested he write, which dealt with gift-giving to the public, at about the time that Andrew Carnegie was making a big stir with his gifts for libraries, beginning:

Dunno, perhaps

One of the yaps

Like me would make

A holy break

Doing his turn

With money to burn.

Anyhow, I

Wouldn’t shy

Making a try!

and containing, among many effective touches, the pathetic lines,

. . . I’d help

The poor who try to help themselves,

Who have to work so hard for bread

They can’t get very far ahead.

When James Lane Allen’s novel, The Reign of Law, came out (1900), a little quatrain by Lampton that appeared in The Bookman (September, 1900) swept like wildfire across the country, and was read by a hundred times as many people as the book itself:

“The Reign of Law”?

Well, Allen, you’re lucky;

It’s the first time it ever

Rained law in Kentucky!

The reader need not be reminded that at that period Kentucky family feuds were well to the fore. As Lampton had started as a poet, the editors were bound to keep him pigeon-holed as far as they could, and his ambition to write short stories was not at first much encouraged by them. His predicament was something like that of the chief character of Frank R. Stockton’s story, “His Wife’s Deceased Sister” (January, 1884, Century), who had written a story so good that whenever he brought the editors another story they invariably answered in substance, “We’re afraid it won’t do. Can’t you give us something like ‘His Wife’s Deceased Sister’?” This was merely Stockton’s turning to account his own somewhat similar experience with the editors after his story, The Lady or the Tiger? (November, 1882, Century) appeared. Likewise the editors didn’t want Lampton’s short stories for a while because they liked his poems so well.

Do I hear some critics exclaiming that there is nothing remarkable about How the Widow Won the Deacon, the story by Lampton included in this volume? It handles an amusing situation lightly and with grace. It is one of those things that read easily and are often difficult to achieve. Among his best stories are: The People’s Number of the Worthyville Watchman (May 12, 1900, Saturday Evening Post), Love’s Strange Spell (April 27, 1901, Saturday Evening Post), Abimelech Higgins’ Way (August 24, 1001, Saturday Evening Post), A Cup of Tea (March, 1902, Metropolitan), Winning His Spurs (May, 1904, Cosmopolitan), The Perfidy of Major Pulsifer (November, 1909, Cosmopolitan), How the Widow Won the Deacon (April, 1911, Harper’s Bazaar), and A Brown Study (December, 1913, Lippincott’s). There is no collection as yet of his short stories. Although familiarly known as “Colonel” Lampton, and although of Kentucky, he was not merely a “Kentucky Colonel,” for he was actually appointed Colonel on the staff of the governor of Kentucky. At the time of his death he was about to be made a brigadier-general and was planning to raise a brigade of Kentucky mountaineers for service in the Great War. As he had just struck his stride in short story writing, the loss to literature was even greater than the patriotic loss.

Gideon (April, 1914, Century), by Wells Hastings (1878– ), the story with which this volume closes, calls to mind the large number of notable short stories in American literature by writers who have made no large name for themselves as short story writers, or even otherwise in letters. American literature has always been strong in its “stray” short stories of note. In Mr. Hastings’ case, however, I feel that the fame is sure to come. He graduated from Yale in 1902, collaborated with Brian Hooker (1880- ) in a novel, The Professor’s Mystery (1911) and alone wrote another novel, The Man in the Brown Derby (1911). His short stories include: The New Little Boy (July, 1911, American), That Day (September, 1911, American), The Pick-Up (December, 1911, Everybody’s), and Gideon (April, 1914, Century). The last story stands out. It can be compared without disadvantage to the best work, or all but the very best work, of Thomas Nelson Page, it seems to me. And from the reader’s standpoint it has the advantage—is this not also an author’s advantage?—of a more modern setting and treatment. Mr. Hastings is, I have been told, a director in over a dozen large corporations. Let us hope that his business activities will not keep him too much away from the production of literature—for to rank as a piece of literature, something of permanent literary value, Gideon is surely entitled.

ALEXANDER JESSUP.

FOOTNOTES:

[1] This I have attempted in Representative American Short Stories (Allyn & Bacon: Boston, 1922).

[2] Will D. Howe, in The Cambridge History of American Literature, Vol. II, pp. 158–159 (G.P. Putnam’s Sons, 1918).

[3] A History of American Literature Since 1870, p. 317 (The Century Co.: 1915).

[4] A History of American Literature Since 1870, pp 79–81.

[5] “The Works of Bret Harte,” twenty volumes. The Houghton Mifflin Company, Boston.

[6] The Cambridge History of American Literature, Vol. II, p. 386.

[7] See this Introduction.

[8] The Cambridge History of American Literature, Vol. II, p. 385.

[9] Fred Lewis Pattee, in The Cambridge History of American Literature, Vol. II, p. 394.

CONTENTS

ACKNOWLEDGMENTS

The Nice People, by Henry Cuyler Bunner, is republished from his volume, Short Sixes, by permission of its publishers, Charles Scribner’s Sons. The Buller-Podington Compact, by Frank Richard Stockton, is from his volume, Afield and Afloat, and is republished by permission of Charles Scribner’s Sons. Colonel Starbottle for the Plaintiff, by Bret Harte, is from the collection of his stories entitled Openings in the Old Trail, and is republished by permission of the Houghton Mifflin Company, the authorized publishers of Bret Harte’s complete works. The Duplicity of Hargraves, by O. Henry, is from his volume, Sixes and Sevens, and is republished by permission of its publishers, Doubleday, Page & Co. These stories are fully protected by copyright, and should not be republished except by permission of the publishers mentioned. Thanks are due Mrs. Grace MacGowan Cooke for permission to use her story, A Call, republished here from Harper’s Magazine; Wells Hastings, for permission to reprint his story, Gideon, from The Century Magazine; and George Randolph Chester, for permission to include Bargain Day at Tutt House, from McClure’s Magazine. I would also thank the heirs of the late lamented Colonel William J. Lampton for permission to use his story, How the Widow Won the Deacon, from Harper’s Bazaar. These stories are all copyrighted, and cannot be republished except by authorization of their authors or heirs. The editor regrets that their publishers have seen fit to refuse him permission to include George W. Cable’s story, “Posson Jone’,” and Irvin S. Cobb’s story, The Smart Aleck. He also regrets he was unable to obtain a copy of Joseph C. Duport’s story, The Wedding at Timber Hollow, in time for inclusion, to which its merits—as he remembers them—certainly entitle it. Mr. Duport, in addition to his literary activities, has started an interesting “back to Nature” experiment at Westfield, Massachusetts.

To
Charles Goodrich Whiting
Critic, Poet, Friend

THE LITTLE FRENCHMAN AND HIS WATER LOTS[10]

By George Pope Morris (1802–1864)

Look into those they call unfortunate,

And, closer view’d, you’ll find they are unwise.—Young.

Let wealth come in by comely thrift,

And not by any foolish shift:

’Tis haste

Makes waste:

Who gripes too hard the dry and slippery sand

Holds none at all, or little, in his hand.—Herrick.

Let well alone.—Proverb.

How much real comfort every one might enjoy if he would be contented with the lot in which heaven has cast him, and how much trouble would be avoided if people would only “let well alone.” A moderate independence, quietly and honestly procured, is certainly every way preferable even to immense possessions achieved by the wear and tear of mind and body so necessary to procure them. Yet there are very few individuals, let them be doing ever so well in the world, who are not always straining every nerve to do better; and this is one of the many causes why failures in business so frequently occur among us. The present generation seem unwilling to “realize” by slow and sure degrees; but choose rather to set their whole hopes upon a single cast, which either makes or mars them forever!

Gentle reader, do you remember Monsieur Poopoo? He used to keep a small toy-store in Chatham, near the corner of Pearl Street. You must recollect him, of course. He lived there for many years, and was one of the most polite and accommodating of shopkeepers. When a juvenile, you have bought tops and marbles of him a thousand times. To be sure you have; and seen his vinegar-visage lighted up with a smile as you flung him the coppers; and you have laughed at his little straight queue and his dimity breeches, and all the other oddities that made up the everyday apparel of my little Frenchman. Ah, I perceive you recollect him now.

Well, then, there lived Monsieur Poopoo ever since he came from “dear, delightful Paris,” as he was wont to call the city of his nativity—there he took in the pennies for his kickshaws—there he laid aside five thousand dollars against a rainy day—there he was as happy as a lark—and there, in all human probability, he would have been to this very day, a respected and substantial citizen, had he been willing to “let well alone.” But Monsieur Poopoo had heard strange stories about the prodigious rise in real estate; and, having understood that most of his neighbors had become suddenly rich by speculating in lots, he instantly grew dissatisfied with his own lot, forthwith determined to shut up shop, turn everything into cash, and set about making money in right-down earnest. No sooner said than done; and our quondam storekeeper a few days afterward attended an extensive sale of real estate, at the Merchants’ Exchange.

There was the auctioneer, with his beautiful and inviting lithographic maps—all the lots as smooth and square and enticingly laid out as possible—and there were the speculators—and there, in the midst of them, stood Monsieur Poopoo.

“Here they are, gentlemen,” said he of the hammer, “the most valuable lots ever offered for sale. Give me a bid for them!”

“One hundred each,” said a bystander.

“One hundred!” said the auctioneer, “scarcely enough to pay for the maps. One hundred—going—and fifty—gone! Mr. H., they are yours. A noble purchase. You’ll sell those same lots in less than a fortnight for fifty thousand dollars profit!”

Monsieur Poopoo pricked up his ears at this, and was lost in astonishment. This was a much easier way certainly of accumulating riches than selling toys in Chatham Street, and he determined to buy and mend his fortune without delay.

The auctioneer proceeded in his sale. Other parcels were offered and disposed of, and all the purchasers were promised immense advantages for their enterprise. At last came a more valuable parcel than all the rest. The company pressed around the stand, and Monsieur Poopoo did the same.

“I now offer you, gentlemen, these magnificent lots, delightfully situated on Long Island, with valuable water privileges. Property in fee—title indisputable—terms of sale, cash—deeds ready for delivery immediately after the sale. How much for them? Give them a start at something. How much?” The auctioneer looked around; there were no bidders. At last he caught the eye of Monsieur Poopoo. “Did you say one hundred, sir? Beautiful lots—valuable water privileges—shall I say one hundred for you?”

“Oui, monsieur; I will give you von hundred dollar apiece, for de lot vid de valuarble vatare privalege; c’est ça.”

“Only one hundred apiece for these sixty valuable lots—only one hundred—going—going—going—gone!”

Monsieur Poopoo was the fortunate possessor. The auctioneer congratulated him—the sale closed—and the company dispersed.

“Pardonnez-moi, monsieur,” said Poopoo, as the auctioneer descended his pedestal, “you shall excusez-moi, if I shall go to votre bureau, your counting-house, ver quick to make every ting sure wid respec to de lot vid de valuarble vatare privalege. Von leetle bird in de hand he vorth two in de tree, c’est vrai—eh?”

“Certainly, sir.”

“Vell den, allons.”

And the gentlemen repaired to the counting-house, where the six thousand dollars were paid, and the deeds of the property delivered. Monsieur Poopoo put these carefully in his pocket, and as he was about taking his leave, the auctioneer made him a present of the lithographic outline of the lots, which was a very liberal thing on his part, considering the map was a beautiful specimen of that glorious art. Poopoo could not admire it sufficiently. There were his sixty lots, as uniform as possible, and his little gray eyes sparkled like diamonds as they wandered from one end of the spacious sheet to the other.

Poopoo’s heart was as light as a feather, and he snapped his fingers in the very wantonness of joy as he repaired to Delmonico’s, and ordered the first good French dinner that had gladdened his palate since his arrival in America.

After having discussed his repast, and washed it down with a bottle of choice old claret, he resolved upon a visit to Long Island to view his purchase. He consequently immediately hired a horse and gig, crossed the Brooklyn ferry, and drove along the margin of the river to the Wallabout, the location in question.

Our friend, however, was not a little perplexed to find his property. Everything on the map was as fair and even as possible, while all the grounds about him were as undulated as they could well be imagined, and there was an elbow of the East River thrusting itself quite into the ribs of the land, which seemed to have no business there. This puzzled the Frenchman exceedingly; and, being a stranger in those parts, he called to a farmer in an adjacent field.

“Mon ami, are you acquaint vid dis part of de country—eh?”

“Yes, I was born here, and know every inch of it.”

“Ah, c’est bien, dat vill do,” and the Frenchman got out of the gig, tied the horse, and produced his lithographic map.

“Den maybe you vill have de kindness to show me de sixty lot vich I have bought, vid de valuarble vatare privalege?”

The farmer glanced his eye over the paper.

“Yes, sir, with pleasure; if you will be good enough to get into my boat, I will row you out to them!”

“Vat dat you say, sure?”

“My friend,” said the farmer, “this section of Long Island has recently been bought up by the speculators of New York, and laid out for a great city; but the principal street is only visible at low tide. When this part of the East River is filled up, it will be just there. Your lots, as you will perceive, are beyond it; and are now all under water.”

At first the Frenchman was incredulous. He could not believe his senses. As the facts, however, gradually broke upon him, he shut one eye, squinted obliquely at the heavens—-the river—the farmer—and then he turned away and squinted at them all over again! There was his purchase sure enough; but then it could not be perceived for there was a river flowing over it! He drew a box from his waistcoat pocket, opened it, with an emphatic knock upon the lid, took a pinch of snuff and restored it to his waistcoat pocket as before. Poopoo was evidently in trouble, having “thoughts which often lie too deep for tears”; and, as his grief was also too big for words, he untied his horse, jumped into his gig, and returned to the auctioneer in hot haste.

It was near night when he arrived at the auction-room—his horse in a foam and himself in a fury. The auctioneer was leaning back in his chair, with his legs stuck out of a low window, quietly smoking a cigar after the labors of the day, and humming the music from the last new opera.

“Monsieur, I have much plaisir to fin’ you, chez vous, at home.”

“Ah, Poopoo! glad to see you. Take a seat, old boy.”

“But I shall not take de seat, sare.”

“No—why, what’s the matter?”

“Oh, beaucoup de matter. I have been to see de gran lot vot you sell me to-day.”

“Well, sir, I hope you like your purchase?”

“No, monsieur, I no like him.”

“I’m sorry for it; but there is no ground for your complaint.”

“No, sare; dare is no ground at all—de ground is all vatare!”

“You joke!”

“I no joke. I nevare joke; je n’entends pas la raillerie, Sare, voulez-vous have de kindness to give me back de money vot I pay!”

“Certainly not.”

“Den vill you be so good as to take de East River off de top of my lot?”

“That’s your business, sir, not mine.”

“Den I make von mauvaise affaire—von gran mistake!”

“I hope not. I don’t think you have thrown your money away in the land.”

“No, sare; but I tro it avay in de vatare!”

“That’s not my fault.”

“Yes, sare, but it is your fault. You’re von ver gran rascal to swindle me out of de l’argent.”

“Hello, old Poopoo, you grow personal; and if you can’t keep a civil tongue in your head, you must go out of my counting-room.”

“Vare shall I go to, eh?”

“To the devil, for aught I care, you foolish old Frenchman!” said the auctioneer, waxing warm.

“But, sare, I vill not go to de devil to oblige you!” replied the Frenchman, waxing warmer. “You sheat me out of all de dollar vot I make in Shatham Street; but I vill not go to de devil for all dat. I vish you may go to de devil yourself you dem yankee-doo-dell, and I vill go and drown myself, tout de suite, right avay.”

“You couldn’t make a better use of your water privileges, old boy!”

“Ah, miséricorde! Ah, mon dieu, je suis abîmé. I am ruin! I am done up! I am break all into ten sousan leetle pieces! I am von lame duck, and I shall vaddle across de gran ocean for Paris, vish is de only valuarble vatare privalege dat is left me à present!”

Poor Poopoo was as good as his word. He sailed in the next packet, and arrived in Paris almost as penniless as the day he left it.

Should any one feel disposed to doubt the veritable circumstances here recorded, let him cross the East River to the Wallabout, and farmer J—— will row him out to the very place where the poor Frenchman’s lots still remain under water.

FOOTNOTES:

[10] From The Little Frenchman and His Water Lots, with Other Sketches of the Times (1839), by George Pope Morris.

THE ANGEL OF THE ODD[11]

By Edgar Allan Poe (1809–1849)

It was a chilly November afternoon. I had just consummated an unusually hearty dinner, of which the dyspeptic truffe formed not the least important item, and was sitting alone in the dining-room with my feet upon the fender and at my elbow a small table which I had rolled up to the fire, and upon which were some apologies for dessert, with some miscellaneous bottles of wine, spirit, and liqueur. In the morning I had been reading Glover’s Leonidas, Wilkie’s Epigoniad, Lamartine’s Pilgrimage, Barlow’s Columbiad, Tuckerman’s Sicily, and Griswold’s Curiosities, I am willing to confess, therefore, that I now felt a little stupid. I made effort to arouse myself by frequent aid of Lafitte, and all failing, I betook myself to a stray newspaper in despair. Having carefully perused the column of “Houses to let,” and the column of “Dogs lost,” and then the columns of “Wives and apprentices runaway,” I attacked with great resolution the editorial matter, and reading it from beginning to end without understanding a syllable, conceived the possibility of its being Chinese, and so re-read it from the end to the beginning, but with no more satisfactory result. I was about throwing away in disgust

This folio of four pages, happy work

Which not even critics criticise,

when I felt my attention somewhat aroused by the paragraph which follows:

“The avenues to death are numerous and strange. A London paper mentions the decease of a person from a singular cause. He was playing at ‘puff the dart,’ which is played with a long needle inserted in some worsted, and blown at a target through a tin tube. He placed the needle at the wrong end of the tube, and drawing his breath strongly to puff the dart forward with force, drew the needle into his throat. It entered the lungs, and in a few days killed him.”

Upon seeing this I fell into a great rage, without exactly knowing why. “This thing,” I exclaimed, “is a contemptible falsehood—a poor hoax—the lees of the invention of some pitiable penny-a-liner, of some wretched concocter of accidents in Cocaigne. These fellows knowing the extravagant gullibility of the age set their wits to work in the imagination of improbable possibilities, of odd accidents as they term them, but to a reflecting intellect (like mine, I added, in parenthesis, putting my forefinger unconsciously to the side of my nose), to a contemplative understanding such as I myself possess, it seems evident at once that the marvelous increase of late in these ‘odd accidents’ is by far the oddest accident of all. For my own part, I intend to believe nothing henceforward that has anything of the ‘singular’ about it.”

“Mein Gott, den, vat a vool you bees for dat!” replied one of the most remarkable voices I ever heard. At first I took it for a rumbling in my ears—such as a man sometimes experiences when getting very drunk—but upon second thought, I considered the sound as more nearly resembling that which proceeds from an empty barrel beaten with a big stick; and, in fact, this I should have concluded it to be, but for the articulation of the syllables and words. I am by no means naturally nervous, and the very few glasses of Lafitte which I had sipped served to embolden me a little, so that I felt nothing of trepidation, but merely uplifted my eyes with a leisurely movement and looked carefully around the room for the intruder. I could not, however, perceive any one at all.

“Humph!” resumed the voice as I continued my survey, “you mus pe so dronk as de pig den for not zee me as I zit here at your zide.”

Hereupon I bethought me of looking immediately before my nose, and there, sure enough, confronting me at the table sat a personage nondescript, although not altogether indescribable. His body was a wine-pipe or a rum puncheon, or something of that character, and had a truly Falstaffian air. In its nether extremity were inserted two kegs, which seemed to answer all the purposes of legs. For arms there dangled from the upper portion of the carcass two tolerably long bottles with the necks outward for hands. All the head that I saw the monster possessed of was one of those Hessian canteens which resemble a large snuff-box with a hole in the middle of the lid. This canteen (with a funnel on its top like a cavalier cap slouched over the eyes) was set on edge upon the puncheon, with the hole toward myself; and through this hole, which seemed puckered up like the mouth of a very precise old maid, the creature was emitting certain rumbling and grumbling noises which he evidently intended for intelligible talk.

“I zay,” said he, “you mos pe dronk as de pig, vor zit dare and not zee me zit ere; and I zay, doo, you mos pe pigger vool as de goose, vor to dispelief vat iz print in de print. ’Tiz de troof—dat it iz—ebery vord ob it.”

“Who are you, pray?” said I with much dignity, although somewhat puzzled; “how did you get here? and what is it you are talking about?”

“As vor ow I com’d ere,” replied the figure, “dat iz none of your pizziness; and as vor vat I be talking apout, I be talk apout vat I tink proper; and as vor who I be, vy dat is de very ting I com’d here for to let you zee for yourself.”

“You are a drunken vagabond,” said I, “and I shall ring the bell and order my footman to kick you into the street.”

“He! he! he!” said the fellow, “hu! hu! hu! dat you can’t do.”

“Can’t do!” said I, “what do you mean? I can’t do what?”

“Ring de pell,” he replied, attempting a grin with his little villainous mouth.

Upon this I made an effort to get up in order to put my threat into execution, but the ruffian just reached across the table very deliberately, and hitting me a tap on the forehead with the neck of one of the long bottles, knocked me back into the armchair from which I had half arisen. I was utterly astounded, and for a moment was quite at a loss what to do. In the meantime he continued his talk.

“You zee,” said he, “it iz te bess vor zit still; and now you shall know who I pe. Look at me! zee! I am te Angel ov te Odd.”

“And odd enough, too,” I ventured to reply; “but I was always under the impression that an angel had wings.”

“Te wing!” he cried, highly incensed, “vat I pe do mit te wing? Mein Gott! do you take me for a shicken?”

“No—oh, no!” I replied, much alarmed; “you are no chicken—certainly not.”

“Well, den, zit still and pehabe yourself, or I’ll rap you again mid me vist. It iz te shicken ab te wing, und te owl ab te wing, und te imp ab te wing, und te head-teuffel ab te wing. Te angel ab not te wing, and I am te Angel ov te Odd.”

“And your business with me at present is—is——”

“My pizziness!” ejaculated the thing, “vy vat a low-bred puppy you mos pe vor to ask a gentleman und an angel apout his pizziness!”

This language was rather more than I could bear, even from an angel; so, plucking up courage, I seized a salt-cellar which lay within reach, and hurled it at the head of the intruder. Either he dodged, however, or my aim was inaccurate; for all I accomplished was the demolition of the crystal which protected the dial of the clock upon the mantelpiece. As for the Angel, he evinced his sense of my assault by giving me two or three hard, consecutive raps upon the forehead as before. These reduced me at once to submission, and I am almost ashamed to confess that, either through pain or vexation, there came a few tears into my eyes.

“Mein Gott!” said the Angel of the Odd, apparently much softened at my distress; “mein Gott, te man is eder ferry dronk or ferry zorry. You mos not trink it so strong—you mos put te water in te wine. Here, trink dis, like a good veller, and don’t gry now—don’t!”

Hereupon the Angel of the Odd replenished my goblet (which was about a third full of port) with a colorless fluid that he poured from one of his hand-bottles. I observed that these bottles had labels about their necks, and that these labels were inscribed “Kirschenwässer.”

The considerate kindness of the Angel mollified me in no little measure; and, aided by the water with which he diluted my port more than once, I at length regained sufficient temper to listen to his very extraordinary discourse. I cannot pretend to recount all that he told me, but I gleaned from what he said that he was a genius who presided over the contretemps of mankind, and whose business it was to bring about the odd accidents which are continually astonishing the skeptic. Once or twice, upon my venturing to express my total incredulity in respect to his pretensions, he grew very angry indeed, so that at length I considered it the wiser policy to say nothing at all, and let him have his own way. He talked on, therefore, at great length, while I merely leaned back in my chair with my eyes shut, and amused myself with munching raisins and filiping the stems about the room. But, by and by, the Angel suddenly construed this behavior of mine into contempt. He arose in a terrible passion, slouched his funnel down over his eyes, swore a vast oath, uttered a threat of some character, which I did not precisely comprehend, and finally made me a low bow and departed, wishing me, in the language of the archbishop in “Gil Bias,” beaucoup de bonheur et un peu plus de bon sens.

His departure afforded me relief. The very few glasses of Lafitte that I had sipped had the effect of rendering me drowsy, and I felt inclined to take a nap of some fifteen or twenty minutes, as is my custom after dinner. At six I had an appointment of consequence, which it was quite indispensable that I should keep. The policy of insurance for my dwelling-house had expired the day before; and some dispute having arisen it was agreed that, at six, I should meet the board of directors of the company and settle the terms of a renewal. Glancing upward at the clock on the mantelpiece (for I felt too drowsy to take out my watch), I had the pleasure to find that I had still twenty-five minutes to spare. It was half-past five; I could easily walk to the insurance office in five minutes; and my usual siestas had never been known to exceed five-and-twenty. I felt sufficiently safe, therefore, and composed myself to my slumbers forthwith.

Having completed them to my satisfaction, I again looked toward the timepiece, and was half inclined to believe in the possibility of odd accidents when I found that, instead of my ordinary fifteen or twenty minutes, I had been dozing only three; for it still wanted seven-and-twenty of the appointed hour. I betook myself again to my nap, and at length a second time awoke, when, to my utter amazement, it still wanted twenty-seven minutes of six. I jumped up to examine the clock, and found that it had ceased running. My watch informed me that it was half-past seven; and, of course, having slept two hours, I was too late for my appointment. “It will make no difference,” I said: “I can call at the office in the morning and apologize; in the meantime what can be the matter with the clock?” Upon examining it I discovered that one of the raisin stems which I had been filiping about the room during the discourse of the Angel of the Odd had flown through the fractured crystal, and lodging, singularly enough, in the keyhole, with an end projecting outward, had thus arrested the revolution of the minute hand.

“Ah!” said I, “I see how it is. This thing speaks for itself. A natural accident, such as will happen now and then!”

I gave the matter no further consideration, and at my usual hour retired to bed. Here, having placed a candle upon a reading stand at the bed head, and having made an attempt to peruse some pages of the Omnipresence of the Deity, I unfortunately fell asleep in less than twenty seconds, leaving the light burning as it was.

My dreams were terrifically disturbed by visions of the Angel of the Odd. Methought he stood at the foot of the couch, drew aside the curtains, and in the hollow, detestable tones of a rum puncheon, menaced me with the bitterest vengeance for the contempt with which I had treated him. He concluded a long harangue by taking off his funnel-cap, inserting the tube into my gullet, and thus deluging me with an ocean of Kirschenwässer, which he poured in a continuous flood, from one of the long-necked bottles that stood him instead of an arm. My agony was at length insufferable, and I awoke just in time to perceive that a rat had run off with the lighted candle from the stand, but not in season to prevent his making his escape with it through the hole, Very soon a strong, suffocating odor assailed my nostrils; the house, I clearly perceived, was on fire. In a few minutes the blaze broke forth with violence, and in an incredibly brief period the entire building was wrapped in flames. All egress from my chamber, except through a window, was cut off. The crowd, however, quickly procured and raised a long ladder. By means of this I was descending rapidly, and in apparent safety, when a huge hog, about whose rotund stomach, and indeed about whose whole air and physiognomy, there was something which reminded me of the Angel of the Odd—when this hog, I say, which hitherto had been quietly slumbering in the mud, took it suddenly into his head that his left shoulder needed scratching, and could find no more convenient rubbing-post than that afforded by the foot of the ladder. In an instant I was precipitated, and had the misfortune to fracture my arm.

This accident, with the loss of my insurance, and with the more serious loss of my hair, the whole of which had been singed off by the fire, predisposed me to serious impressions, so that finally I made up my mind to take a wife. There was a rich widow disconsolate for the loss of her seventh husband, and to her wounded spirit I offered the balm of my vows. She yielded a reluctant consent to my prayers. I knelt at her feet in gratitude and adoration. She blushed and bowed her luxuriant tresses into close contact with those supplied me temporarily by Grandjean. I know not how the entanglement took place but so it was. I arose with a shining pate, wigless; she in disdain and wrath, half-buried in alien hair. Thus ended my hopes of the widow by an accident which could not have been anticipated, to be sure, but which the natural sequence of events had brought about.

Without despairing, however, I undertook the siege of a less implacable heart. The fates were again propitious for a brief period, but again a trivial incident interfered. Meeting my betrothed in an avenue thronged with the elite of the city, I was hastening to greet her with one of my best considered bows, when a small particle of some foreign matter lodging in the corner of my eye rendered me for the moment completely blind. Before I could recover my sight, the lady of my love had disappeared—irreparably affronted at what she chose to consider my premeditated rudeness in passing her by ungreeted. While I stood bewildered at the suddenness of this accident (which might have happened, nevertheless, to any one under the sun), and while I still continued incapable of sight, I was accosted by the Angel of the Odd, who proffered me his aid with a civility which I had no reason to expect. He examined my disordered eye with much gentleness and skill, informed me that I had a drop in it, and (whatever a “drop” was) took it out, and afforded me relief.

I now considered it high time to die (since fortune had so determined to persecute me), and accordingly made my way to the nearest river. Here, divesting myself of my clothes (for there is no reason why we cannot die as we were born), I threw myself headlong into the current; the sole witness of my fate being a solitary crow that had been seduced into the eating of brandy-saturated corn, and so had staggered away from his fellows. No sooner had I entered the water than this bird took it into his head to fly away with the most indispensable portion of my apparel. Postponing, therefore, for the present, my suicidal design, I just slipped my nether extremities into the sleeves of my coat, and betook myself to a pursuit of the felon with all the nimbleness which the case required and its circumstances would admit. But my evil destiny attended me still. As I ran at full speed, with my nose up in the atmosphere, and intent only upon the purloiner of my property, I suddenly perceived that my feet rested no longer upon terra firma; the fact is, I had thrown myself over a precipice, and should inevitably have been dashed to pieces but for my good fortune in grasping the end of a long guide-rope, which depended from a passing balloon.

As soon as I sufficiently recovered my senses to comprehend the terrific predicament in which I stood, or rather hung, I exerted all the power of my lungs to make that predicament known to the aeronaut overhead. But for a long time I exerted myself in vain. Either the fool could not, or the villain would not perceive me. Meanwhile the machine rapidly soared, while my strength even more rapidly failed. I was soon upon the point of resigning myself to my fate, and dropping quietly into the sea, when my spirits were suddenly revived by hearing a hollow voice from above, which seemed to be lazily humming an opera air. Looking up, I perceived the Angel of the Odd. He was leaning, with his arms folded, over the rim of the car; and with a pipe in his mouth, at which he puffed leisurely, seemed to be upon excellent terms with himself and the universe. I was too much exhausted to speak, so I merely regarded him with an imploring air.

For several minutes, although he looked me full in the face, he said nothing. At length, removing carefully his meerschaum from the right to the left corner of his mouth, he condescended to speak.

“Who pe you,” he asked, “und what der teuffel you pe do dare?”

To this piece of impudence, cruelty, and affectation, I could reply only by ejaculating the monosyllable “Help!”

“Elp!” echoed the ruffian, “not I. Dare iz te pottle—elp yourself, und pe tam’d!”

With these words he let fall a heavy bottle of Kirschenwässer, which, dropping precisely upon the crown of my head, caused me to imagine that my brains were entirely knocked out. Impressed with this idea I was about to relinquish my hold and give up the ghost with a good grace, when I was arrested by the cry of the Angel, who bade me hold on.

“’Old on!” he said: “don’t pe in te ’urry—don’t. Will you pe take de odder pottle, or ’ave you pe got zober yet, and come to your zenzes?”

I made haste, hereupon, to nod my head twice—once in the negative, meaning thereby that I would prefer not taking the other bottle at present; and once in the affirmative, intending thus to imply that I was sober and had positively come to my senses. By these means I somewhat softened the Angel.

“Und you pelief, ten,” he inquired, “at te last? You pelief, ten, in te possibility of te odd?”

I again nodded my head in assent.

“Und you ave pelief in me, te Angel of te Odd?”

I nodded again.

“Und you acknowledge tat you pe te blind dronk und te vool?”

I nodded once more.

“Put your right hand into your left preeches pocket, ten, in token ov your vull zubmizzion unto te Angel ov te Odd.”

This thing, for very obvious reasons, I found it quite impossible to do. In the first place, my left arm had been broken in my fall from the ladder, and therefore, had I let go my hold with the right hand I must have let go altogether. In the second place, I could have no breeches until I came across the crow. I was therefore obliged, much to my regret, to shake my head in the negative, intending thus to give the Angel to understand that I found it inconvenient, just at that moment, to comply with his very reasonable demand! No sooner, however, had I ceased shaking my head than—

“Go to der teuffel, ten!” roared the Angel of the Odd.

In pronouncing these words he drew a sharp knife across the guide-rope by which I was suspended, and as we then happened to be precisely over my own house (which, during my peregrinations, had been handsomely rebuilt), it so occurred that I tumbled headlong down the ample chimney and alit upon the dining-room hearth.

Upon coming to my senses (for the fall had very thoroughly stunned me) I found it about four o’clock in the morning. I lay outstretched where I had fallen from the balloon. My head groveled in the ashes of an extinguished fire, while my feet reposed upon the wreck of a small table, overthrown, and amid the fragments of a miscellaneous dessert, intermingled with a newspaper, some broken glasses and shattered bottles, and an empty jug of the Schiedam Kirschenwässer. Thus revenged himself the Angel of the Odd.

FOOTNOTES:

[11] From The Columbian Magazine, October, 1844.

THE SCHOOLMASTER’S PROGRESS[12]

By Caroline M.S. Kirkland (1801–1864)

Master William Horner came to our village to school when he was about eighteen years old: tall, lank, straight-sided, and straight-haired, with a mouth of the most puckered and solemn kind. His figure and movements were those of a puppet cut out of shingle and jerked by a string; and his address corresponded very well with his appearance. Never did that prim mouth give way before a laugh. A faint and misty smile was the widest departure from its propriety, and this unaccustomed disturbance made wrinkles in the flat, skinny cheeks like those in the surface of a lake, after the intrusion of a stone. Master Horner knew well what belonged to the pedagogical character, and that facial solemnity stood high on the list of indispensable qualifications. He had made up his mind before he left his father’s house how he would look during the term. He had not planned any smiles (knowing that he must “board round”), and it was not for ordinary occurrences to alter his arrangements; so that when he was betrayed into a relaxation of the muscles, it was “in such a sort” as if he was putting his bread and butter in jeopardy.

Truly he had a grave time that first winter. The rod of power was new to him, and he felt it his “duty” to use it more frequently than might have been thought necessary by those upon whose sense the privilege had palled. Tears and sulky faces, and impotent fists doubled fiercely when his back was turned, were the rewards of his conscientiousness; and the boys—and girls too—were glad when working time came round again, and the master went home to help his father on the farm.

But with the autumn came Master Horner again, dropping among us as quietly as the faded leaves, and awakening at least as much serious reflection. Would he be as self-sacrificing as before, postponing his own ease and comfort to the public good, or would he have become more sedentary, and less fond of circumambulating the school-room with a switch over his shoulder? Many were fain to hope he might have learned to smoke during the summer, an accomplishment which would probably have moderated his energy not a little, and disposed him rather to reverie than to action. But here he was, and all the broader-chested and stouter-armed for his labors in the harvest-field.

Let it not be supposed that Master Horner was of a cruel and ogrish nature—a babe-eater—a Herod—one who delighted in torturing the helpless. Such souls there may be, among those endowed with the awful control of the ferule, but they are rare in the fresh and natural regions we describe. It is, we believe, where young gentlemen are to be crammed for college, that the process of hardening heart and skin together goes on most vigorously. Yet among the uneducated there is so high a respect for bodily strength, that it is necessary for the schoolmaster to show, first of all, that he possesses this inadmissible requisite for his place. The rest is more readily taken for granted. Brains he may have—a strong arm he must have: so he proves the more important claim first. We must therefore make all due allowance for Master Horner, who could not be expected to overtop his position so far as to discern at once the philosophy of teaching.

He was sadly brow-beaten during his first term of service by a great broad-shouldered lout of some eighteen years or so, who thought he needed a little more “schooling,” but at the same time felt quite competent to direct the manner and measure of his attempts.

“You’d ought to begin with large-hand, Joshuay,” said Master Horner to this youth.

“What should I want coarse-hand for?” said the disciple, with great contempt; “coarse-hand won’t never do me no good. I want a fine-hand copy.”

The master looked at the infant giant, and did as he wished, but we say not with what secret resolutions.

At another time, Master Horner, having had a hint from some one more knowing than himself, proposed to his elder scholars to write after dictation, expatiating at the same time quite floridly (the ideas having been supplied by the knowing friend), upon the advantages likely to arise from this practice, and saying, among other things,

“It will help you, when you write letters, to spell the words good.”

“Pooh!” said Joshua, “spellin’ ain’t nothin’; let them that finds the mistakes correct ’em. I’m for every one’s havin’ a way of their own.”

“How dared you be so saucy to the master?” asked one of the little boys, after school.

“Because I could lick him, easy,” said the hopeful Joshua, who knew very well why the master did not undertake him on the spot.

Can we wonder that Master Horner determined to make his empire good as far as it went?

A new examination was required on the entrance into a second term, and, with whatever secret trepidation, the master was obliged to submit. Our law prescribes examinations, but forgets to provide for the competency of the examiners; so that few better farces offer than the course of question and answer on these occasions. We know not precisely what were Master Horner’s trials; but we have heard of a sharp dispute between the inspectors whether a-n-g-e-l spelt angle or angel. Angle had it, and the school maintained that pronunciation ever after. Master Horner passed, and he was requested to draw up the certificate for the inspectors to sign, as one had left his spectacles at home, and the other had a bad cold, so that it was not convenient for either to write more than his name. Master Homer’s exhibition of learning on this occasion did not reach us, but we know that it must have been considerable, since he stood the ordeal.

“What is orthography?” said an inspector once, in our presence.

The candidate writhed a good deal, studied the beams overhead and the chickens out of the window, and then replied,

“It is so long since I learnt the first part of the spelling-book, that I can’t justly answer that question. But if I could just look it over, I guess I could.”

Our schoolmaster entered upon his second term with new courage and invigorated authority. Twice certified, who should dare doubt his competency? Even Joshua was civil, and lesser louts of course obsequious; though the girls took more liberties, for they feel even at that early age, that influence is stronger than strength.

Could a young schoolmaster think of feruling a girl with her hair in ringlets and a gold ring on her finger? Impossible—and the immunity extended to all the little sisters and cousins; and there were enough large girls to protect all the feminine part of the school. With the boys Master Horner still had many a battle, and whether with a view to this, or as an economical ruse, he never wore his coat in school, saying it was too warm. Perhaps it was an astute attention to the prejudices of his employers, who love no man that does not earn his living by the sweat of his brow. The shirt-sleeves gave the idea of a manual-labor school in one sense at least. It was evident that the master worked, and that afforded a probability that the scholars worked too.

Master Horner’s success was most triumphant that winter. A year’s growth had improved his outward man exceedingly, filling out the limbs so that they did not remind you so forcibly of a young colt’s, and supplying the cheeks with the flesh and blood so necessary where mustaches were not worn. Experience had given him a degree of confidence, and confidence gave him power. In short, people said the master had waked up; and so he had. He actually set about reading for improvement; and although at the end of the term he could not quite make out from his historical studies which side Hannibal was on, yet this is readily explained by the fact that he boarded round, and was obliged to read generally by firelight, surrounded by ungoverned children.

After this, Master Horner made his own bargain. When schooltime came round with the following autumn, and the teacher presented himself for a third examination, such a test was pronounced no longer necessary; and the district consented to engage him at the astounding rate of sixteen dollars a month, with the understanding that he was to have a fixed home, provided he was willing to allow a dollar a week for it. Master Horner bethought him of the successive “killing-times,” and consequent doughnuts of the twenty families in which he had sojourned the years before, and consented to the exaction.

Behold our friend now as high as district teacher can ever hope to be—his scholarship established, his home stationary and not revolving, and the good behavior of the community insured by the fact that he, being of age, had now a farm to retire upon in case of any disgust.

Master Horner was at once the preëminent beau of the neighborhood, spite of the prejudice against learning. He brushed his hair straight up in front, and wore a sky-blue ribbon for a guard to his silver watch, and walked as if the tall heels of his blunt boots were egg-shells and not leather. Yet he was far from neglecting the duties of his place. He was beau only on Sundays and holidays; very schoolmaster the rest of the time.

It was at a “spelling-school” that Master Horner first met the educated eyes of Miss Harriet Bangle, a young lady visiting the Engleharts in our neighborhood. She was from one of the towns in Western New York, and had brought with her a variety of city airs and graces somewhat caricatured, set off with year-old French fashions much travestied. Whether she had been sent out to the new country to try, somewhat late, a rustic chance for an establishment, or whether her company had been found rather trying at home, we cannot say. The view which she was at some pains to make understood was, that her friends had contrived this method of keeping her out of the way of a desperate lover whose addresses were not acceptable to them.

If it should seem surprising that so high-bred a visitor should be sojourning in the wild woods, it must be remembered that more than one celebrated Englishman and not a few distinguished Americans have farmer brothers in the western country, no whit less rustic in their exterior and manner of life than the plainest of their neighbors. When these are visited by their refined kinsfolk, we of the woods catch glimpses of the gay world, or think we do.

That great medicine hath

With its tinct gilded—

many a vulgarism to the satisfaction of wiser heads than ours.

Miss Bangle’s manner bespoke for her that high consideration which she felt to be her due. Yet she condescended to be amused by the rustics and their awkward attempts at gaiety and elegance; and, to say truth, few of the village merry-makings escaped her, though she wore always the air of great superiority.

The spelling-school is one of the ordinary winter amusements in the country. It occurs once in a fortnight, or so, and has power to draw out all the young people for miles round, arrayed in their best clothes and their holiday behavior. When all is ready, umpires are elected, and after these have taken the distinguished place usually occupied by the teacher, the young people of the school choose the two best scholars to head the opposing classes. These leaders choose their followers from the mass, each calling a name in turn, until all the spellers are ranked on one side or the other, lining the sides of the room, and all standing. The schoolmaster, standing too, takes his spelling-book, and gives a placid yet awe-inspiring look along the ranks, remarking that he intends to be very impartial, and that he shall give out nothing that is not in the spelling-book. For the first half hour or so he chooses common and easy words, that the spirit of the evening may not be damped by the too early thinning of the classes. When a word is missed, the blunderer has to sit down, and be a spectator only for the rest of the evening. At certain intervals, some of the best speakers mount the platform, and “speak a piece,” which is generally as declamatory as possible.

The excitement of this scene is equal to that afforded by any city spectacle whatever; and towards the close of the evening, when difficult and unusual words are chosen to confound the small number who still keep the floor, it becomes scarcely less than painful. When perhaps only one or two remain to be puzzled, the master, weary at last of his task, though a favorite one, tries by tricks to put down those whom he cannot overcome in fair fight. If among all the curious, useless, unheard-of words which may be picked out of the spelling-book, he cannot find one which the scholars have not noticed, he gets the last head down by some quip or catch. “Bay” will perhaps be the sound; one scholar spells it “bey,” another, “bay,” while the master all the time means “ba,” which comes within the rule, being in the spelling-book.

It was on one of these occasions, as we have said, that Miss Bangle, having come to the spelling-school to get materials for a letter to a female friend, first shone upon Mr. Horner. She was excessively amused by his solemn air and puckered mouth, and set him down at once as fair game. Yet she could not help becoming somewhat interested in the spelling-school, and after it was over found she had not stored up half as many of the schoolmaster’s points as she intended, for the benefit of her correspondent.

In the evening’s contest a young girl from some few miles’ distance, Ellen Kingsbury, the only child of a substantial farmer, had been the very last to sit down, after a prolonged effort on the part of Mr. Horner to puzzle her, for the credit of his own school. She blushed, and smiled, and blushed again, but spelt on, until Mr. Horner’s cheeks were crimson with excitement and some touch of shame that he should be baffled at his own weapons. At length, either by accident or design, Ellen missed a word, and sinking into her seat was numbered with the slain.

In the laugh and talk which followed (for with the conclusion of the spelling, all form of a public assembly vanishes), our schoolmaster said so many gallant things to his fair enemy, and appeared so much animated by the excitement of the contest, that Miss Bangle began to look upon him with rather more respect, and to feel somewhat indignant that a little rustic like Ellen should absorb the entire attention of the only beau. She put on, therefore, her most gracious aspect, and mingled in the circle; caused the schoolmaster to be presented to her, and did her best to fascinate him by certain airs and graces which she had found successful elsewhere. What game is too small for the close-woven net of a coquette?

Mr. Horner quitted not the fair Ellen until he had handed her into her father’s sleigh; and he then wended his way homewards, never thinking that he ought to have escorted Miss Bangle to her uncle’s, though she certainly waited a little while for his return.

We must not follow into particulars the subsequent intercourse of our schoolmaster with the civilized young lady. All that concerns us is the result of Miss Bangle’s benevolent designs upon his heart. She tried most sincerely to find its vulnerable spot, meaning no doubt to put Mr. Homer on his guard for the future; and she was unfeignedly surprised to discover that her best efforts were of no avail. She concluded he must have taken a counter-poison, and she was not slow in guessing its source. She had observed the peculiar fire which lighted up his eyes in the presence of Ellen Kingsbury, and she bethought her of a plan which would ensure her some amusement at the expense of these impertinent rustics, though in a manner different somewhat from her original more natural idea of simple coquetry.

A letter was written to Master Horner, purporting to come from Ellen Kingsbury, worded so artfully that the schoolmaster understood at once that it was intended to be a secret communication, though its ostensible object was an inquiry about some ordinary affair. This was laid in Mr. Horner’s desk before he came to school, with an intimation that he might leave an answer in a certain spot on the following morning. The bait took at once, for Mr. Horner, honest and true himself, and much smitten with the fair Ellen, was too happy to be circumspect. The answer was duly placed, and as duly carried to Miss Bangle by her accomplice, Joe Englehart, an unlucky pickle who “was always for ill, never for good,” and who found no difficulty in obtaining the letter unwatched, since the master was obliged to be in school at nine, and Joe could always linger a few minutes later. This answer being opened and laughed at, Miss Bangle had only to contrive a rejoinder, which being rather more particular in its tone than the original communication, led on yet again the happy schoolmaster, who branched out into sentiment, “taffeta phrases, silken terms precise,” talked of hills and dales and rivulets, and the pleasures of friendship, and concluded by entreating a continuance of the correspondence.

Another letter and another, every one more flattering and encouraging than the last, almost turned the sober head of our poor master, and warmed up his heart so effectually that he could scarcely attend to his business. The spelling-schools were remembered, however, and Ellen Kingsbury made one of the merry company; but the latest letter had not forgotten to caution Mr. Horner not to betray the intimacy; so that he was in honor bound to restrict himself to the language of the eyes hard as it was to forbear the single whisper for which he would have given his very dictionary. So, their meeting passed off without the explanation which Miss Bangle began to fear would cut short her benevolent amusement.

The correspondence was resumed with renewed spirit, and carried on until Miss Bangle, though not overburdened with sensitiveness, began to be a little alarmed for the consequences of her malicious pleasantry. She perceived that she herself had turned schoolmistress, and that Master Horner, instead of being merely her dupe, had become her pupil too; for the style of his replies had been constantly improving and the earnest and manly tone which he assumed promised any thing but the quiet, sheepish pocketing of injury and insult, upon which she had counted. In truth, there was something deeper than vanity in the feelings with which he regarded Ellen Kingsbury. The encouragement which he supposed himself to have received, threw down the barrier which his extreme bashfulness would have interposed between himself and any one who possessed charms enough to attract him; and we must excuse him if, in such a case, he did not criticise the mode of encouragement, but rather grasped eagerly the proffered good without a scruple, or one which he would own to himself, as to the propriety with which it was tendered. He was as much in love as a man can be, and the seriousness of real attachment gave both grace and dignity to his once awkward diction.

The evident determination of Mr. Horner to come to the point of asking papa brought Miss Bangle to a very awkward pass. She had expected to return home before matters had proceeded so far, but being obliged to remain some time longer, she was equally afraid to go on and to leave off, a dénouement being almost certain to ensue in either case. Things stood thus when it was time to prepare for the grand exhibition which was to close the winter’s term.

This is an affair of too much magnitude to be fully described in the small space yet remaining in which to bring out our veracious history. It must be “slubber’d o’er in haste”—its important preliminaries left to the cold imagination of the reader—its fine spirit perhaps evaporating for want of being embodied in words. We can only say that our master, whose school-life was to close with the term, labored as man never before labored in such a cause, resolute to trail a cloud of glory after him when he left us. Not a candlestick nor a curtain that was attainable, either by coaxing or bribery, was left in the village; even the only piano, that frail treasure, was wiled away and placed in one corner of the rickety stage. The most splendid of all the pieces in the Columbian Orator, the American Speaker, the——but we must not enumerate—in a word, the most astounding and pathetic specimens of eloquence within ken of either teacher or scholars, had been selected for the occasion; and several young ladies and gentlemen, whose academical course had been happily concluded at an earlier period, either at our own institution or at some other, had consented to lend themselves to the parts, and their choicest decorations for the properties, of the dramatic portion of the entertainment.

Among these last was pretty Ellen Kingsbury, who had agreed to personate the Queen of Scots, in the garden scene from Schiller’s tragedy of Mary Stuart; and this circumstance accidentally afforded Master Horner the opportunity he had so long desired, of seeing his fascinating correspondent without the presence of peering eyes. A dress-rehearsal occupied the afternoon before the day of days, and the pathetic expostulations of the lovely Mary—

Mine all doth hang—my life—my destiny—

Upon my words—upon the force of tears!—

aided by the long veil, and the emotion which sympathy brought into Ellen’s countenance, proved too much for the enforced prudence of Master Horner. When the rehearsal was over, and the heroes and heroines were to return home, it was found that, by a stroke of witty invention not new in the country, the harness of Mr. Kingsbury’s horses had been cut in several places, his whip hidden, his buffalo-skins spread on the ground, and the sleigh turned bottom upwards on them. This afforded an excuse for the master’s borrowing a horse and sleigh of somebody, and claiming the privilege of taking Miss Ellen home, while her father returned with only Aunt Sally and a great bag of bran from the mill—companions about equally interesting.

Here, then, was the golden opportunity so long wished for! Here was the power of ascertaining at once what is never quite certain until we have heard it from warm, living lips, whose testimony is strengthened by glances in which the whole soul speaks or—seems to speak. The time was short, for the sleighing was but too fine; and Father Kingsbury, having tied up his harness, and collected his scattered equipment, was driving so close behind that there was no possibility of lingering for a moment. Yet many moments were lost before Mr. Horner, very much in earnest, and all unhackneyed in matters of this sort, could find a word in which to clothe his new-found feelings. The horse seemed to fly—the distance was half past—and at length, in absolute despair of anything better, he blurted out at once what he had determined to avoid—a direct reference to the correspondence.

A game at cross-purposes ensued; exclamations and explanations, and denials and apologies filled up the time which was to have made Master Horner so blest. The light from Mr. Kingsbury’s windows shone upon the path, and the whole result of this conference so longed for, was a burst of tears from the perplexed and mortified Ellen, who sprang from Mr. Horner’s attempts to detain her, rushed into the house without vouchsafing him a word of adieu, and left him standing, no bad personification of Orpheus, after the last hopeless flitting of his Eurydice.

“Won’t you ’light, Master?” said Mr. Kingsbury.

“Yes—no—thank you—good evening,” stammered poor Master Horner, so stupefied that even Aunt Sally called him “a dummy.”

The horse took the sleigh against the fence, going home, and threw out the master, who scarcely recollected the accident; while to Ellen the issue of this unfortunate drive was a sleepless night and so high a fever in the morning that our village doctor was called to Mr. Kingsbury’s before breakfast.

Poor Master Horner’s distress may hardly be imagined. Disappointed, bewildered, cut to the quick, yet as much in love as ever, he could only in bitter silence turn over in his thoughts the issue of his cherished dream; now persuading himself that Ellen’s denial was the effect of a sudden bashfulness, now inveighing against the fickleness of the sex, as all men do when they are angry with any one woman in particular. But his exhibition must go on in spite of wretchedness; and he went about mechanically, talking of curtains and candles, and music, and attitudes, and pauses, and emphasis, looking like a somnambulist whose “eyes are open but their sense is shut,” and often surprising those concerned by the utter unfitness of his answers.

It was almost evening when Mr. Kingsbury, having discovered, through the intervention of the Doctor and Aunt Sally the cause of Ellen’s distress, made his appearance before the unhappy eyes of Master Horner, angry, solemn and determined; taking the schoolmaster apart, and requiring, an explanation of his treatment of his daughter. In vain did the perplexed lover ask for time to clear himself, declare his respect for Miss Ellen and his willingness to give every explanation which she might require; the father was not to be put off; and though excessively reluctant, Mr. Horner had no resource but to show the letters which alone could account for his strange discourse to Ellen. He unlocked his desk, slowly and unwillingly, while the old man’s impatience was such that he could scarcely forbear thrusting in his own hand to snatch at the papers which were to explain this vexatious mystery. What could equal the utter confusion of Master Horner and the contemptuous anger of the father, when no letters were to be found! Mr. Kingsbury was too passionate to listen to reason, or to reflect for one moment upon the irreproachable good name of the schoolmaster. He went away in inexorable wrath; threatening every practicable visitation of public and private justice upon the head of the offender, whom he accused of having attempted to trick his daughter into an entanglement which should result in his favor.

A doleful exhibition was this last one of our thrice approved and most worthy teacher! Stern necessity and the power of habit enabled him to go through with most of his part, but where was the proud fire which had lighted up his eye on similar occasions before? He sat as one of three judges before whom the unfortunate Robert Emmet was dragged in his shirt-sleeves, by two fierce-looking officials; but the chief judge looked far more like a criminal than did the proper representative. He ought to have personated Othello, but was obliged to excuse himself from raving for “the handkerchief! the handkerchief!” on the rather anomalous plea of a bad cold. Mary Stuart being “i’ the bond,” was anxiously expected by the impatient crowd, and it was with distress amounting to agony that the master was obliged to announce, in person, the necessity of omitting that part of the representation, on account of the illness of one of the young ladies.

Scarcely had the words been uttered, and the speaker hidden his burning face behind the curtain, when Mr. Kingsbury started up in his place amid the throng, to give a public recital of his grievance—no uncommon resort in the new country. He dashed at once to the point; and before some friends who saw the utter impropriety of his proceeding could persuade him to defer his vengeance, he had laid before the assembly—some three hundred people, perhaps—his own statement of the case. He was got out at last, half coaxed, half hustled; and the gentle public only half understanding what had been set forth thus unexpectedly, made quite a pretty row of it. Some clamored loudly for the conclusion of the exercises; others gave utterances in no particularly choice terms to a variety of opinions as to the schoolmaster’s proceedings, varying the note occasionally by shouting, “The letters! the letters! why don’t you bring out the letters?”

At length, by means of much rapping on the desk by the president of the evening, who was fortunately a “popular” character, order was partially restored; and the favorite scene from Miss More’s dialogue of David and Goliath was announced as the closing piece. The sight of little David in a white tunic edged with red tape, with a calico scrip and a very primitive-looking sling; and a huge Goliath decorated with a militia belt and sword, and a spear like a weaver’s beam indeed, enchained everybody’s attention. Even the peccant schoolmaster and his pretended letters were forgotten, while the sapient Goliath, every time that he raised the spear, in the energy of his declamation, to thump upon the stage, picked away fragments of the low ceiling, which fell conspicuously on his great shock of black hair. At last, with the crowning threat, up went the spear for an astounding thump, and down came a large piece of the ceiling, and with it—a shower of letters.

The confusion that ensued beggars all description. A general scramble took place, and in another moment twenty pairs of eyes, at least, were feasting on the choice phrases lavished upon Mr. Horner. Miss Bangle had sat through the whole previous scene, trembling for herself, although she had, as she supposed, guarded cunningly against exposure. She had needed no prophet to tell her what must be the result of a tête-à-tête between Mr. Horner and Ellen; and the moment she saw them drive off together, she induced her imp to seize the opportunity of abstracting the whole parcel of letters from Mr. Horner’s desk; which he did by means of a sort of skill which comes by nature to such goblins; picking the lock by the aid of a crooked nail, as neatly as if he had been born within the shadow of the Tombs.

But magicians sometimes suffer severely from the malice with which they have themselves inspired their familiars. Joe Englehart having been a convenient tool thus far thought it quite time to torment Miss Bangle a little; so, having stolen the letters at her bidding, he hid them on his own account, and no persuasions of hers could induce him to reveal this important secret, which he chose to reserve as a rod in case she refused him some intercession with his father, or some other accommodation, rendered necessary by his mischievous habits.

He had concealed the precious parcels in the unfloored loft above the school-room, a place accessible only by means of a small trap-door without staircase or ladder; and here he meant to have kept them while it suited his purposes, but for the untimely intrusion of the weaver’s beam.

Miss Bangle had sat through all, as we have said, thinking the letters safe, yet vowing vengeance against her confederate for not allowing her to secure them by a satisfactory conflagration; and it was not until she heard her own name whispered through the crowd, that she was awakened to her true situation. The sagacity of the low creatures whom she had despised showed them at once that the letters must be hers, since her character had been pretty shrewdly guessed, and the handwriting wore a more practised air than is usual among females in the country. This was first taken for granted, and then spoken of as an acknowledged fact.

The assembly moved like the heavings of a troubled sea. Everybody felt that this was everybody’s business. “Put her out!” was heard from more than one rough voice near the door, and this was responded to by loud and angry murmurs from within.

Mr. Englehart, not waiting to inquire into the merits of the case in this scene of confusion, hastened to get his family out as quietly and as quickly as possible, but groans and hisses followed his niece as she hung half-fainting on his arm, quailing completely beneath the instinctive indignation of the rustic public. As she passed out, a yell resounded among the rude boys about the door, and she was lifted into a sleigh, insensible from terror. She disappeared from that evening, and no one knew the time of her final departure for “the east.”

Mr. Kingsbury, who is a just man when he is not in a passion, made all the reparation in his power for his harsh and ill-considered attack upon the master; and we believe that functionary did not show any traits of implacability of character. At least he was seen, not many days after, sitting peaceably at tea with Mr. Kingsbury, Aunt Sally, and Miss Ellen; and he has since gone home to build a house upon his farm. And people do say, that after a few months more, Ellen will not need Miss Bangle’s intervention if she should see fit to correspond with the schoolmaster.

FOOTNOTES:

[12] From The Gift for 1845, published late in 1844. Republished in the volume, Western Clearings (1845), by Caroline M.S. Kirkland.

THE WATKINSON EVENING[13]

By Eliza Leslie (1787–1858)

Mrs. Morland, a polished and accomplished woman, was the widow of a distinguished senator from one of the western states, of which, also, her husband had twice filled the office of governor. Her daughter having completed her education at the best boarding-school in Philadelphia, and her son being about to graduate at Princeton, the mother had planned with her children a tour to Niagara and the lakes, returning by way of Boston. On leaving Philadelphia, Mrs. Morland and the delighted Caroline stopped at Princeton to be present at the annual commencement, and had the happiness of seeing their beloved Edward receive his diploma as bachelor of arts; after hearing him deliver, with great applause, an oration on the beauties of the American character. College youths are very prone to treat on subjects that imply great experience of the world. But Edward Morland was full of kind feeling for everything and everybody; and his views of life had hitherto been tinted with a perpetual rose-color.

Mrs. Morland, not depending altogether upon the celebrity of her late husband, and wishing that her children should see specimens of the best society in the northern cities, had left home with numerous letters of introduction. But when they arrived at New York, she found to her great regret, that having unpacked and taken out her small traveling desk, during her short stay in Philadelphia, she had strangely left it behind in the closet of her room at the hotel. In this desk were deposited all her letters, except two which had been offered to her by friends in Philadelphia. The young people, impatient to see the wonders of Niagara, had entreated her to stay but a day or two in the city of New York, and thought these two letters would be quite sufficient for the present. In the meantime she wrote back to the hotel, requesting that the missing desk should be forwarded to New York as soon as possible.

On the morning after their arrival at the great commercial metropolis of America, the Morland family took a carriage to ride round through the principal parts of the city, and to deliver their two letters at the houses to which they were addressed, and which were both situated in the region that lies between the upper part of Broadway and the North River. In one of the most fashionable streets they found the elegant mansion of Mrs. St. Leonard; but on stopping at the door, were informed that its mistress was not at home. They then left the introductory letter (which they had prepared for this mischance, by enclosing it in an envelope with a card), and proceeding to another street considerably farther up, they arrived at the dwelling of the Watkinson family, to the mistress of which the other Philadelphia letter was directed. It was one of a large block of houses all exactly alike, and all shut up from top to bottom, according to a custom more prevalent in New York than in any other city.

Here they were also unsuccessful; the servant who came to the door telling them that the ladies were particularly engaged and could see no company. So they left their second letter and card and drove off, continuing their ride till they reached the Croton water works, which they quitted the carriage to see and admire. On returning to the hotel, with the intention after an hour or two of rest to go out again, and walk till near dinner-time, they found waiting them a note from Mrs. Watkinson, expressing her regret that she had not been able to see them when they called; and explaining that her family duties always obliged her to deny herself the pleasure of receiving morning visitors, and that her servants had general orders to that effect. But she requested their company for that evening (naming nine o’clock as the hour), and particularly desired an immediate answer.

“I suppose,” said Mrs. Morland, “she intends asking some of her friends to meet us, in case we accept the invitation; and therefore is naturally desirous of a reply as soon as possible. Of course we will not keep her in suspense. Mrs. Denham, who volunteered the letter, assured me that Mrs. Watkinson was one of the most estimable women in New York, and a pattern to the circle in which she moved. It seems that Mr. Denham and Mr. Watkinson are connected in business. Shall we go?”

The young people assented, saying they had no doubt of passing a pleasant evening.

The billet of acceptance having been written, it was sent off immediately, entrusted to one of the errand-goers belonging to the hotel, that it might be received in advance of the next hour for the dispatch-post—and Edward Morland desired the man to get into an omnibus with the note that no time might be lost in delivering it. “It is but right”—said he to his mother—“that we should give Mrs. Watkinson an ample opportunity of making her preparations, and sending round to invite her friends.”

“How considerate you are, dear Edward”—said Caroline—“always so thoughtful of every one’s convenience. Your college friends must have idolized you.”

“No”—said Edward—“they called me a prig.” Just then a remarkably handsome carriage drove up to the private door of the hotel. From it alighted a very elegant woman, who in a few moments was ushered into the drawing-room by the head waiter, and on his designating Mrs. Morland’s family, she advanced and gracefully announced herself as Mrs. St. Leonard. This was the lady at whose house they had left the first letter of introduction. She expressed regret at not having been at home when they called; but said that on finding their letter, she had immediately come down to see them, and to engage them for the evening. “Tonight”—said Mrs. St. Leonard—“I expect as many friends as I can collect for a summer party. The occasion is the recent marriage of my niece, who with her husband has just returned from their bridal excursion, and they will be soon on their way to their residence in Baltimore. I think I can promise you an agreeable evening, as I expect some very delightful people, with whom I shall be most happy to make you acquainted.”

Edward and Caroline exchanged glances, and could not refrain from looking wistfully at their mother, on whose countenance a shade of regret was very apparent. After a short pause she replied to Mrs. St. Leonard—“I am truly sorry to say that we have just answered in the affirmative a previous invitation for this very evening.”

“I am indeed disappointed”—said Mrs. St. Leonard, who had been looking approvingly at the prepossessing appearance of the two young people. “Is there no way in which you can revoke your compliance with this unfortunate first invitation—at least, I am sure, it is unfortunate for me. What a vexatious contretemps that I should have chanced to be out when you called; thus missing the pleasure of seeing you at once, and securing that of your society for this evening? The truth is, I was disappointed in some of the preparations that had been sent home this morning, and I had to go myself and have the things rectified, and was detained away longer than I expected. May I ask to whom you are engaged this evening? Perhaps I know the lady—if so, I should be very much tempted to go and beg you from her.”

“The lady is Mrs. John Watkinson”—replied Mrs. Morland—“most probably she will invite some of her friends to meet us.”

“That of course”—answered Mrs. St. Leonard—“I am really very sorry—and I regret to say that I do not know her at all.”

“We shall have to abide by our first decision,” said Mrs. Morland. “By Mrs. Watkinson, mentioning in her note the hour of nine, it is to be presumed she intends asking some other company. I cannot possibly disappoint her. I can speak feelingly as to the annoyance (for I have known it by my own experience) when after inviting a number of my friends to meet some strangers, the strangers have sent an excuse almost at the eleventh hour. I think no inducements, however strong, could tempt me to do so myself.”

“I confess that you are perfectly right,” said Mrs. St. Leonard. “I see you must go to Mrs. Watkinson. But can you not divide the evening, by passing a part of it with her and then finishing with me?”

At this suggestion the eyes of the young people sparkled, for they had become delighted with Mrs. St. Leonard, and imagined that a party at her house must be every way charming. Also, parties were novelties to both of them.

“If possible we will do so,” answered Mrs. Morland, “and with what pleasure I need not assure you. We leave New York to-morrow, but we shall return this way in September, and will then be exceedingly happy to see more of Mrs. St. Leonard.”

After a little more conversation Mrs. St. Leonard took her leave, repeating her hope of still seeing her new friends at her house that night; and enjoining them to let her know as soon as they returned to New York on their way home.

Edward Morland handed her to her carriage, and then joined his mother and sister in their commendations of Mrs. St. Leonard, with whose exceeding beauty were united a countenance beaming with intelligence, and a manner that put every one at their ease immediately.

“She is an evidence,” said Edward, “how superior our women of fashion are to those of Europe.”

“Wait, my dear son,” said Mrs. Morland, “till you have been in Europe, and had an opportunity of forming an opinion on that point (as on many others) from actual observation. For my part, I believe that in all civilized countries the upper classes of people are very much alike, at least in their leading characteristics.”

“Ah! here comes the man that was sent to Mrs. Watkinson,” said Caroline Morland. “I hope he could not find the house and has brought the note back with him. We shall then be able to go at first to Mrs. St. Leonard’s, and pass the whole evening there.”

The man reported that he had found the house, and had delivered the note into Mrs. Watkinson’s own hands, as she chanced to be crossing the entry when the door was opened; and that she read it immediately, and said “Very well.”

“Are you certain that you made no mistake in the house,” said Edward, “and that you really did give it to Mrs. Watkinson?”

“And it’s quite sure I am, sir,” replied the man, “when I first came over from the ould country I lived with them awhile, and though when she saw me to-day, she did not let on that she remembered my doing that same, she could not help calling me James. Yes, the rale words she said when I handed her the billy-dux was, ‘Very well, James.’”

“Come, come,” said Edward, when they found themselves alone, “let us look on the bright side. If we do not find a large party at Mrs. Watkinson’s, we may in all probability meet some very agreeable people there, and enjoy the feast of reason and the flow of soul. We may find the Watkinson house so pleasant as to leave it with regret even for Mrs. St. Leonard’s.”