by O. Henry
"'What do you think of her, Judson?' asks Fergus, with an air.
"'This much,' says I. 'She is to me Mrs. Judson Tate. I am no man to play tricks on a friend. So take your warning.'
"I thought Fergus would die laughing.
"'Well, well, well,' said he, 'you old doughface! Struck too, are you? That's great! But you're too late. Francesca tells me that Anabela talks of nothing but me, day and night. Of course, I'm awfully obliged to you for making that chin-music to her of evenings. But, do you know, I've an idea that I could have done it as well myself.'
"'Mrs. Judson Tate,' says I. 'Don't forget the name. You've had the use of my tongue to go with your good looks, my boy. You can't lend me your looks; but hereafter my tongue is my own. Keep your mind on the name that's to be on the visiting cards two inches by three and a half --"Mrs. Judson Tate." That's all.'
"'All right,' says Fergus, laughing again. 'I've talked with her father, the alcalde, and he's willing. He's to give a baile to-morrow evening in his new warehouse. If you were a dancing man, Jud, I'd expect you around to meet the future Mrs. McMahan.'
"But on the next evening, when the music was playing loudest at the Alcade Zamora's baile, into the room steps Judson Tate in a new white linen clothes as if he were the biggest man in the whole nation, which he was.
"Some of the musicians jumped off the key when they saw my face, and one or two of the timidest senoritas let out a screech or two. But up prances the alcalde and almost wipes the dust off my shoes with his forehead. No mere good looks could have won me that sensational entrance.
"'I hear much, Senor Zamora,' says I, 'of the charm of your daughter. It would give me great pleasure to be presented to her.'
"There were about six dozen willow rocking-chairs, with pink tidies tied on to them, arranged against the walls. In one of them sat Senorita Anabela in white Swiss and red slippers, with pearls and fireflies in her hair. Fergus was at the other end of the room trying to break away from two maroons and a claybank girl.
"The alcalde leads me up to Anabela and presents me. When she took the first look at my face she dropped her fan and nearly turned her chair over from the shock. But I'm used to that.
"I sat down by her, and began to talk. When she heard me speak she jumped, and her eyes got as big as alligator pears. She couldn't strike a balance between the tones of my voice and face I carried. But I kept on talking in the key of C, which is the ladies' key; and presently she sat still in her chair and a dreamy look came into her eyes. She was coming my way. She knew of Judson Tate, and what a big man he was, and the big things he had done; and that was in my favour. But, of course, it was some shock to her to find out that I was not the pretty man that had been pointed out to her as the great Judson. And then I took the Spanish language, which is better than English for certain purposes, and played on it like a harp of a thousand strings. I ranged from the second G below the staff up to F-sharp above it. I set my voice to poetry, art, romance, flowers, and moonlight. I repeated some of the verses that I had murmured to her in the dark at her window; and I knew from a sudden soft sparkle in her eye that she recognized in my voice the tones of her midnight mysterious wooer.
"Anyhow, I had Fergus McMahan going. Oh, the vocal is the true art--no doubt about that. Handsome is as handsome palavers. That's the renovated proverb.
"I took Senorita Anabela for a walk in the lemon grove while Fergus, disfiguring himself with an ugly frown, was waltzing with the claybank girl. Before we returned I had permission to come to her window in the patio the next evening at midnight and talk some more.
"Oh, it was easy enough. In two weeks Anabela was engaged to me, and Fergus was out. He took it calm, for a handsome man, and told me he wasn't going to give in.
"'Talk may be all right in its place, Judson,' he says to me, 'although I've never thought it worth cultivating. But,' says he, 'to expect mere words to back up successfully a face like yours in a lady's good graces is like expecting a man to make a square meal on the ringing of a dinner-bell.'
"But I haven't begun on the story I was going to tell you yet.
"One day I took a long ride in the hot sunshine, and then took a bath in the cold waters of a lagoon on the edge of the town before I'd cooled off.
"That evening after dark I called at the alcalde's to see Anabela. I was calling regular every evening then, and we were to be married in a month. She was looking like a bulbul, a gazelle, and a tea-rose, and her eyes were as soft and bright as two quarts of cream skimmed off from the Milky Way. She looked at my rugged features without any expression of fear or repugnance. Indeed, I fancied that I saw a look of deep admiration and affection, such as she had cast at Fergus on the plaza.
"I sat down, and opened my mouth to tell Anabela what she loved to hear--that she was a trust, monopolizing all the loveliness of earth. I opened my mouth, and instead of the usual vibrating words of love and compliment, there came forth a faint wheeze such as a baby with croup might emit. Not a word--not a syllable--not an intelligible sound. I had caught cold in my laryngeal regions when I took my injudicious bath.
"For two hours I sat trying to entertain Anabela. She talked a certain amount, but it was perfunctory and diluted. The nearest approach I made to speech was to formulate a sound like a clam trying to sing 'A Life on the Ocean Wave' at low tide. It seemed that Anabela's eyes did not rest upon me as often as usual. I had nothing with which to charm her ears. We looked at pictures and she played the guitar occasionally, very badly. When I left, her parting manner seemed cool --or at least thoughtful.
"This happened for five evenings consecutively.
"On the sixth day she ran away with Fergus McMahan.
"It was known that they fled in a sailing yacht bound for Belize. I was only eight hours behind them in a small steam launch belonging to the Revenue Department.
"Before I sailed, I rushed into the botica of old Manuel Iquito, a half-breed Indian druggist. I could not speak, but I pointed to my throat and made a sound like escaping steam. He began to yawn. In an hour, according to the customs of the country, I would have been waited on. I reached across the counter, seized him by the throat, and pointed again to my own. He yawned once more, and thrust into my hand a small bottle containing a black liquid.
"'Take one small spoonful every two hours,' says he.
"I threw him a dollar and skinned for the steamer.
"I steamed into the harbour at Belize thirteen seconds behind the yacht that Anabela and Fergus were on. They started for the shore in a dory just as my skiff was lowered over the side. I tried to order my sailormen to row faster, but the sounds died in my larynx before they came to the light. Then I thought of old Iquito's medicine, and I got out his bottle and took a swallow of it.
"The two boats landed at the same moment. I walked straight up to Anabela and Fergus. Her eyes rested upon me for an instant; then she turned them, full of feeling and confidence, upon Fergus. I knew I could not speak, but I was desperate. In speech lay my only hope. I could not stand beside Fergus and challenge comparison in the way of beauty. Purely involuntarily, my larynx and epiglottis attempted to reproduce the sounds that my mind was calling upon my vocal organs to send forth.
"To my intense surprise and delight the words rolled forth beautifully clear, resonant, exquisitely modulated, full of power, expression, and long-repressed emotion.
"'Senorita Anabela,' says I, 'may I speak with you aside for a moment?'
"You don't want details about that, do you? Thanks. The old eloquence had come back all right. I led her under a cocoanut palm and put my old verbal spell on her again.
"'Judson,' says she, 'when you are talking to me I can hear nothing else--I can see nothing else--there is nothing and nobody else in the world for me.'
"Well, that's about all of the story. Anabela went back to Oratama in the steamer with me. I never heard what became of Fergus. I never saw him any more. Anabela is now Mrs. Judson Tate. Has my story bored you much?"
"No," said I. "
I am always interested in psychological studies. A human heart--and especially a woman's--is a wonderful thing to contemplate."
"It is," said Judson Tate. "And so are the trachea and bronchial tubes of man. And the larynx too. Did you ever make a study of the windpipe?"
"Never," said I. "But I have taken much pleasure in your story. May I ask after Mrs. Tate, and inquire of her present health and whereabouts?"
"Oh, sure," said Judson Tate. "We are living in Bergen Avenue, Jersey City. The climate down in Oratama didn't suit Mrs. T. I don't suppose you ever dissected the arytenoid cartilages of the epiglottis, did you?"
"Why, no," said I, "I am no surgeon."
"Pardon me," said Judson Tate, "but every man should know enough of anatomy and therapeutics to safeguard his own health. A sudden cold may set up capillary bronchitis or inflammation of the pulmonary vesicles, which may result in a serious affection of the vocal organs."
"Perhaps so," said I, with some impatience; "but that is neither here nor there. Speaking of the strange manifestations of the affection of women, I--"
"Yes, yes," interrupted Judson Tate; "they have peculiar ways. But, as I was going to tell you: when I went back to Oratama I found out from Manuel Iquito what was in that mixture he gave me for my lost voice. I told you how quick it cured me. He made that stuff from the chuchula plant. Now, look here."
Judson Tate drew an oblong, white pasteboard box from his pocket.
"For any cough," he said, "or cold, or hoarseness, or bronchial affection whatsoever, I have here the greatest remedy in the world. You see the formula, printed on the box. Each tablet contains licorice, 2 grains; balsam tolu, 1/10 grain; oil of anise, 1/20 minim; oil of tar, 1/60 minim; oleo-resin of cubebs, 1/100 minim; fluid extract of chuchula, 1/10 minim.
"I am in New York," went on Judson Tate, "for the purpose of organizing a company to market the greatest remedy for throat affections ever discovered. At present I am introducing the lozenges in a small way. I have here a box containing four dozen, which I am selling for the small sum of fifty cents. If you are suffering--"
* * * * *
I got up and went away without a word. I walked slowly up to the little park near my hotel, leaving Judson Tate alone with his conscience. My feelings were lacerated. He had poured gently upon me a story that I might have used. There was a little of the breath of life in it, and some of the synthetic atmosphere that passes, when cunningly tinkered, in the marts. And, at the last it had proven to be a commercial pill, deftly coated with the sugar of fiction. The worst of it was that I could not offer it for sale. Advertising departments and counting-rooms look down upon me. And it would never do for the literary. Therefore I sat upon a bench with other disappointed ones until my eyelids drooped.
I went to my room, and, as my custom is, read for an hour stories in my favourite magazines. This was to get my mind back to art again.
And as I read each story, I threw the magazines sadly and hopelessly, one by one, upon the floor. Each author, without one exception to bring balm to my heart, wrote liltingly and sprightly a story of some particular make of motor-car that seemed to control the sparking plug of his genius.
And when the last one was hurled from me I took heart.
"If readers can swallow so many proprietary automobiles," I said to myself, "they ought not to strain at one of Tate's Compound Magic Chuchula Bronchial Lozenges."
And so if you see this story in print you will understand that business is business, and that if Art gets very far ahead of Commerce, she will have to get up and hustle.
I may as well add, to make a clean job of it, that you can't buy the chuchula plant in the drug stores.
ART AND THE BRONCO
Out of the wilderness had come a painter. Genius, whose coronations alone are democratic, had woven a chaplet of chaparral for the brow of Lonny Briscoe. Art, whose divine expression flows impartially from the fingertips of a cowboy or a dilettante emperor, had chosen for a medium the Boy Artist of the San Saba. The outcome, seven feet by twelve of besmeared canvas, stood, gilt-framed, in the lobby of the Capitol.
The legislature was in session; the capital city of that great Western state was enjoying the season of activity and profit that the congregation of the solons bestowed. The boarding-houses were corralling the easy dollars of the gamesome law-makers. The greatest state in the West, an empire in area and resources, had arisen and repudiated the old libel or barbarism, lawbreaking, and bloodshed. Order reigned within her borders. Life and property were as safe there, sir, as anywhere among the corrupt cities of the effete East. Pillow-shams, churches, strawberry feasts and habeas corpus flourished. With impunity might the tenderfoot ventilate his "stovepipe" or his theories of culture. The arts and sciences received nurture and subsidy. And, therefore, it behooved the legislature of this great state to make appropriation for the purchase of Lonny Briscoe's immortal painting.
Rarely has the San Saba country contributed to the spread of the fine arts. Its sons have excelled in the solider graces, in the throw of the lariat, the manipulation of the esteemed .45, the intrepidity of the one-card draw, and the nocturnal stimulation of towns from undue lethargy; but, hitherto, it had not been famed as a stronghold of aesthetics. Lonny Briscoe's brush had removed that disability. Here, among the limestone rocks, the succulent cactus, and the drought- parched grass of that arid valley, had been born the Boy Artist. Why he came to woo art is beyond postulation. Beyond doubt, some spore of the afflatus must have sprung up within him in spite of the desert soil of San Saba. The tricksy spirit of creation must have incited him to attempted expression and then have sat hilarious among the white- hot sands of the valley, watching its mischievous work. For Lonny's picture, viewed as a thing of art, was something to have driven away dull care from the bosoms of the critics.
The painting--one might almost say panorama--was designed to portray a typical Western scene, interest culminating in a central animal figure, that of a stampeding steer, life-size, wild-eyed, fiery, breaking away in a mad rush from the herd that, close-ridden by a typical cowpuncher, occupied a position somewhat in the right background of the picture. The landscape presented fitting and faithful accessories. Chaparral, mesquit, and pear were distributed in just proportions. A Spanish dagger-plant, with its waxen blossoms in a creamy aggregation as large as a water-bucket, contributed floral beauty and variety. The distance was undulating prairie, bisected by stretches of the intermittent streams peculiar to the region lined with the rich green of live-oak and water-elm. A richly mottled rattlesnake lay coiled beneath a pale green clump of prickly pear in the foreground. A third of the canvas was ultramarine and lake white-- the typical Western sky and the flying clouds, rainless and feathery.
Between two plastered pillars in the commodious hallway near the door of the chamber of representatives stood the painting. Citizens and lawmakers passed there by twos and groups and sometimes crowds to gaze upon it. Many--perhaps a majority of them--had lived the prairie life and recalled easily the familiar scene. Old cattlemen stood, reminiscent and candidly pleased, chatting with brothers of former camps and trails of the days it brought back to mind. Art critics were few in the town, and there was heard none of that jargon of colour, perspective, and feeling such as the East loves to use as a curb and a rod to the pretensions of the artist. 'Twas a great picture, most of them agreed, admiring the gilt frame--larger than any they had ever seen.
Senator Kinney was the picture's champion and sponsor. It was he who so often stepped forward and asserted, with the voice of a bronco- buster, that it would be a lasting blot, sir, upon the name of this great state if it should decline to recognize in a proper manner the genius that had so brilliantly transferred to imperishable canvas a scene so typical of the great sources of our state's wealth and prosperity, land--and--er--live-stock.
Senator Kinney represented a section of the state in the extreme West --400 miles from the San Saba country--but the true lover of art is not limited by metes and bounds. Nor was Senato
r Mullens, representing the San Saba country, lukewarm in his belief that the state should purchase the painting of his constituent. He was advised that the San Saba country was unanimous in its admiration of the great painting by one of its own denizens. Hundreds of connoisseurs had straddled their broncos and ridden miles to view it before its removal to the capital. Senator Mullens desired reelection, and he knew the importance of the San Saba vote. He also knew that with the help of Senator Kinney--who was a power in the legislature--the thing could be put through. Now, Senator Kinney had an irrigation bill that he wanted passed for the benefit of his own section, and he knew Senator Mullens could render him valuable aid and information, the San Saba country already enjoying the benefits of similar legislation. With these interests happily dovetailed, wonder at the sudden interest in art at the state capital must, necessarily, be small. Few artists have uncovered their first picture to the world under happier auspices than did Lonny Briscoe.