by O. Henry
“Come on,” invites the Ohioan, “and have some drinks. I’ve been at it — for two days, but the inf — ernal stuff won’t bite like it used to. Goodall of Memphis, what’s your respiration?”
“Twenty-four.”
“Daily — temperature?”
“Hundred and four.”
“You can do it in two days. It’ll take me a — week. Tank up, friend Goodall — have all the fun you can; then — off you go, in the middle of a jag, and s-s-save trouble and expense. I’m a s-son of a gun if this ain’t a health resort — for your whiskers! A Lake Erie fog’d get lost here in two minutes.”
“You said something about a drink,” says Goodall.
A few minutes later they line up at a glittering bar, and hang upon the arm rest. The bartender, blond, heavy, well-groomed, sets out their drinks, instantly perceiving that he serves two of the Three Thousand. He observes that one is a middle-aged man, well-dressed, with a lined and sunken face; the other a mere boy who is chiefly eyes and overcoat. Disguising well the tedium begotten by many repetitions, the server of drinks begins to chant the sanitary saga of Santone. “Rather a moist night, gentlemen, for our town. A little fog from our river, but nothing to hurt. Repeated Tests.”
“Damn your litmus papers,” gasps Toledo— “without any — personal offense intended.”
“We’ve heard of ‘em before. Let ‘em turn red, white and blue. What we want is a repeated test of that — whiskey. Come again. I paid for the last round, Goodall of Memphis.”
The bottle oscillates from one to the other, continues to do so, and is not removed from the counter. The bartender sees two emaciated invalids dispose of enough Kentucky Belle to floor a dozen cowboys, without displaying any emotion save a sad and contemplative interest in the peregrinations of the bottle. So he is moved to manifest a solicitude as to the consequences.
“Not on your Uncle Mark Hanna,” responds Toledo, “will we get drunk. We’ve been — vaccinated with whiskey — and — cod liver oil. What would send you to the police station — only gives us a thirst. S-s-set out another bottle.”
It is slow work trying to meet death by that route. Some quicker way must be found. They leave the saloon and plunge again into the mist. The sidewalks are mere flanges at the base of the houses; the street a cold ravine, the fog filling it like a freshet. Not far away is the Mexican quarter. Conducted as if by wires along the heavy air comes a guitar’s tinkle, and the demoralizing voice of some señorita singing:
“En las tardes sombrillos del invierro
En el prado a Marar me reclino
Y maldigo mi fausto destino —
Una vida la mas infeliz.”
The words of it they do not understand — neither Toledo nor Memphis, but words are the least important things in life. The music tears the breasts of the seekers after Nepenthe, inciting Toledo to remark:
“Those kids of mine — I wonder — by God, Mr. Goodall of Memphis, we had too little of that whiskey! No slow music in mine, if you please. It makes you disremember to forget.”
Hurd of Toledo, here pulls out his watch, and says: “I’m a son of a gun! Got an engagement for a hack ride out to San Pedro Springs at eleven. Forgot it. A fellow from Noo York, and me, and the Castillo sisters at Rhinegelder’s Garden. That Noo York chap’s a lucky dog — got one whole lung — good for a year yet. Plenty of money, too. He pays for everything. I can’t afford — to miss the jamboree. Sorry you ain’t going along. Good-by, Goodall of Memphis.”
He rounds the corner and shuffles away, casting off thus easily the ties of acquaintanceship as the moribund do, the season of dissolution being man’s supreme hour of egoism and selfishness. But he turns and calls back through the fog to the other: “I say, Goodall of Memphis! If you get there before I do, tell ‘em Hurd’s a-comin’ too. Hurd, of T’leder, Ah-hia.”
Thus Goodall’s tempter deserts him. That youth, uncomplaining and uncaring, takes a spell at coughing, and, recovered, wanders desultorily on down the street, the name of which he neither knows nor recks. At a certain point he perceives swinging doors, and hears, filtering between them a noise of wind and string instruments. Two men enter from the street as he arrives, and he follows them in. There is a kind of ante-chamber, plentifully set with palms and cactuses and oleanders. At little marble-topped tables some people sit, while soft-shod attendants bring the beer. All is orderly, clean, melancholy, gay, of the German method of pleasure. At his right is the foot of a stairway. A man there holds out his hand. Goodall extends his, full of silver, the man selects therefrom a coin. Goodall goes upstairs and sees there two galleries extending along the sides of a concert hall which he now perceives to lie below and beyond the anteroom he first entered. These galleries are divided into boxes or stalls, which bestow with the aid of hanging lace curtains, a certain privacy upon their occupants.
Passing with aimless feet down the aisle contiguous to these saucy and discreet compartments, he is half checked by the sight in one of them of a young woman, alone and seated in an attitude of reflection. This young woman becomes aware of his approach. A smile from her brings him to a standstill, and her subsequent invitation draws him, though hesitating, to the other chair in the box, a little table between them.
Goodall is only nineteen. There are some whom, when the terrible god Phthisis wishes to destroy he first makes beautiful; and the boy is one of these. His face is wax, and an awful pulchritude is born of the menacing flame in his cheeks. His eyes reflect an unearthly vista engendered by the certainty of his doom. As it is forbidden man to guess accurately concerning his fate, it is inevitable that he shall tremble at the slightest lifting of the veil.
The young woman is well-dressed, and exhibits a beauty of distinctly feminine and tender sort; an Eve-like comeliness that scarcely seems predestined to fade.
It is immaterial, the steps by which the two mount to a certain plane of good understanding; they are short and few, as befits the occasion.
A button against the wall of the partition is frequently disturbed and a waiter comes and goes at signal.
Pensive beauty would nothing of wine; two thick plaits of her blond hair hang almost to the floor; she is a lineal descendant of the Lorelei. So the waiter brings the brew; effervescent, icy, greenish golden. The orchestra on the stage is playing “Oh, Rachel.” The youngsters have exchanged a good bit of information. She calls him, “Walter” and he calls her “Miss Rosa.”
Goodall’s tongue is loosened and he has told her everything about himself, about his home in Tennessee, the old pillared mansion under the oaks, the stables, the hunting; the friends he has; down to the chickens, and the box bushes bordering the walks. About his coming South for the climate, hoping to escape the hereditary foe of his family. All about his three months on a ranch; the deer hunts, the rattlers, and the rollicking in the cow camps. Then of his advent to Santone, where he had indirectly learned, from a great specialist, that his life’s calendar probably contains but two more leaves. And then of this death-white, choking night which has come and strangled his fortitude and sent him out to seek a port amid its depressing billows.
“My weekly letter from home failed to come,” he told her, “and I was pretty blue. I knew I had to go before long and I was tired of waiting. I went out and bought morphine at every drug store where they would sell me a few tablets. I got thirty-six quarter grains, and was going back to my room and take them, but I met a queer fellow on a bridge, who had a new idea.”
Goodall fillips a little pasteboard box upon the table. “I put ‘em all together in there.”
Miss Rosa, being a woman, must raise the lid, and gave a slight shiver at the innocent looking triturates. “Horrid things! but those little, white bits — they could never kill one!”
Indeed they could. Walter knew better. Nine grains of morphia! Why, half the amount might.
Miss Rosa demands to know about Mr. Hurd, of Toledo, and is told. She laughs like a delighted child. “What a funny fellow! But tell me more about
your home and your sisters, Walter. I know enough about Texas and tarantulas and cowboys.”
The theme is dear, just now, to his mood, and he lays before her the simple details of a true home; the little ties and endearments that so fill the exile’s heart. Of his sisters, one, Alice, furnishes him a theme he loves to dwell upon.
“She is like you, Miss Rosa,” he says. “Maybe not quite so pretty, but, just as nice, and good, and— “
“There! Walter,” says Miss Rosa sharply, “now talk about something else.”
But a shadow falls upon the wall outside, preceding a big, softly treading man, finely dressed, who pauses a second before the curtains and then passes on. Presently comes the waiter with a message: “Mr. Rolfe says— “
“Tell Rolfe I’m engaged.”
“I don’t know why it is,” says Goodall, of Memphis, “but I don’t feel as bad as I did. An hour ago I wanted to die, but since I’ve met you, Miss Rosa, I’d like so much to live.”
The young woman whirls around the table, lays an arm behind his neck and kisses him on the cheek.
“You must, dear boy,” she says. “I know what was the matter. It was the miserable foggy weather that has lowered your spirit and mine too — a little. But look, now.”
With a little spring she has drawn back the curtains. A window is in the wall opposite, and lo! the mist is cleared away. The indulgent moon is out again, revoyaging the plumbless sky. Roof and parapet and spire are softly pearl enamelled. Twice, thrice the retrieved river flashes back, between the houses, the light of the firmament. A tonic day will dawn, sweet and prosperous.
“Talk of death when the world is so beautiful!” says Miss Rosa, laying her hand on his shoulder. “Do something to please me, Walter. Go home to your rest and say: ‘I mean to get better,’ and do it.”
“If you ask it,” says the boy, with a smile, “I will.”
The waiter brings full glasses. Did they ring? No; but it is well. He may leave them. A farewell glass. Miss Rosa says: “To your better health, Walter.” He says: “To our next meeting.”
His eyes look no longer into the void, but gaze upon the antithesis of death. His foot is set in an undiscovered country to-night. He is obedient, ready to go.
“Good night,” she says.
“I never kissed a girl before,” he confesses, “except my sisters.”
“You didn’t this time,” she laughs, “I kissed you — good night.”
“When shall I see you again,” he persists.
“You promised me to go home,” she frowns, “and get well. Perhaps we shall meet again soon. Good night.”
He hesitates, his hat in hand. She smiles broadly and kisses him once more upon the forehead. She watches him far down the aisle, then sits again at the table.
The shadow falls once more against the wall. This time the big, softly stepping man parts the curtains and looks in. Miss Rosa’s eyes meet his and for half a minute they remain thus, silent, fighting a battle with that king of weapons. Presently the big man drops the curtains and passes on.
The orchestra ceases playing suddenly, and an important voice can be heard loudly talking in one of the boxes farther down the aisle. No doubt some citizen entertains there some visitor to the town, and Miss Rosa leans back in her chair and smiles at some of the words she catches:
“Purest atmosphere — in the world — litmus paper all long — nothing hurtful — our city — nothing but pure ozone.”
The waiter returns for the tray and glasses. As he enters, the girl crushes a little empty pasteboard box in her hand and throws it in a corner. She is stirring something in her glass with her hatpin.
“Why, Miss Rosa,” says the waiter with the civil familiarity he uses— “putting salt in your beer this early in the night!”
THE OTHER: A MEDLEY OF MOODS
Alas for the man and for the artist with the shifting point of perspective! Life shall be a confusion of ways to the one; the landscape shall rise up and confound the other. Take the case of Lorison. At one time he appeared to himself to be the feeblest of fools; at another he conceived that he followed ideals so fine that the world was not yet ready to accept them. During one mood he cursed his folly; possessed by the other, he bore himself with a serene grandeur akin to greatness: in neither did he attain the perspective.
Generations before, the name had been “Larsen.” His race had bequeathed him its fine-strung, melancholy temperament, its saving balance of thrift and industry.
From his point of perspective he saw himself an outcast from society, forever to be a shady skulker along the ragged edge of respectability; a denizen des trois-quartz de monde, that pathetic spheroid lying between the haut and the demi, whose inhabitants envy each of their neighbours, and are scorned by both. He was self-condemned to this opinion, as he was self-exiled, through it, to this quaint Southern city a thousand miles from his former home. Here he had dwelt for longer than a year, knowing but few, keeping in a subjective world of shadows which was invaded at times by the perplexing bulks of jarring realities. Then he fell in love with a girl whom he met in a cheap restaurant, and his story begins.
The Rue Chartres, in New Orleans, is a street of ghosts. It lies in the quarter where the Frenchman, in his prime, set up his translated pride and glory; where, also, the arrogant don had swaggered, and dreamed of gold and grants and ladies’ gloves. Every flagstone has its grooves worn by footsteps going royally to the wooing and the fighting. Every house has a princely heartbreak; each doorway its untold tale of gallant promise and slow decay.
By night the Rue Chartres is now but a murky fissure, from which the groping wayfarer sees, flung against the sky, the tangled filigree of Moorish iron balconies. The old houses of monsieur stand yet, indomitable against the century, but their essence is gone. The street is one of ghosts to whosoever can see them.
A faint heartbeat of the street’s ancient glory still survives in a corner occupied by the Café Carabine d’Or. Once men gathered there to plot against kings, and to warn presidents. They do so yet, but they are not the same kind of men. A brass button will scatter these; those would have set their faces against an army. Above the door hangs the sign board, upon which has been depicted a vast animal of unfamiliar species. In the act of firing upon this monster is represented an unobtrusive human levelling an obtrusive gun, once the colour of bright gold. Now the legend above the picture is faded beyond conjecture; the gun’s relation to the title is a matter of faith; the menaced animal, wearied of the long aim of the hunter, has resolved itself into a shapeless blot.
The place is known as “Antonio’s,” as the name, white upon the red-lit transparency, and gilt upon the windows, attests. There is a promise in “Antonio”; a justifiable expectancy of savoury things in oil and pepper and wine, and perhaps an angel’s whisper of garlic. But the rest of the name is “O’Riley.” Antonio O’Riley!
The Carabine d’Or is an ignominious ghost of the Rue Chartres. The café where Bienville and Conti dined, where a prince has broken bread, is become a “family ristaurant.”
Its customers are working men and women, almost to a unit. Occasionally you will see chorus girls from the cheaper theatres, and men who follow avocations subject to quick vicissitudes; but at Antonio’s — name rich in Bohemian promise, but tame in fulfillment — manners debonair and gay are toned down to the “family” standard. Should you light a cigarette, mine host will touch you on the “arrum” and remind you that the proprieties are menaced. “Antonio” entices and beguiles from fiery legend without, but “O’Riley” teaches decorum within.
It was at this restaurant that Lorison first saw the girl. A flashy fellow with a predatory eye had followed her in, and had advanced to take the other chair at the little table where she stopped, but Lorison slipped into the seat before him. Their acquaintance began, and grew, and now for two months they had sat at the same table each evening, not meeting by appointment, but as if by a series of fortuitous and happy accidents. After dining, they would t
ake a walk together in one of the little city parks, or among the panoramic markets where exhibits a continuous vaudeville of sights and sounds. Always at eight o’clock their steps led them to a certain street corner, where she prettily but firmly bade him good night and left him. “I do not live far from here,” she frequently said, “and you must let me go the rest of the way alone.”
But now Lorison had discovered that he wanted to go the rest of the way with her, or happiness would depart, leaving, him on a very lonely corner of life. And at the same time that he made the discovery, the secret of his banishment from the society of the good laid its finger in his face and told him it must not be.
Man is too thoroughly an egoist not to be also an egotist; if he love, the object shall know it. During a lifetime he may conceal it through stress of expediency and honour, but it shall bubble from his dying lips, though it disrupt a neighbourhood. It is known, however, that most men do not wait so long to disclose their passion. In the case of Lorison, his particular ethics positively forbade him to declare his sentiments, but he must needs dally with the subject, and woo by innuendo at least.
On this night, after the usual meal at the Carabine d’Or, he strolled with his companion down the dim old street toward the river.
The Rue Chartres perishes in the old Place d’Armes. The ancient Cabildo, where Spanish justice fell like hail, faces it, and the Cathedral, another provincial ghost, overlooks it. Its centre is a little, iron-railed park of flowers and immaculate gravelled walks, where citizens take the air of evenings. Pedestalled high above it, the general sits his cavorting steed, with his face turned stonily down the river toward English Turn, whence come no more Britons to bombard his cotton bales.
Often the two sat in this square, but to-night Lorison guided her past the stone-stepped gate, and still riverward. As they walked, he smiled to himself to think that all he knew of her — except that be loved her — was her name, Norah Greenway, and that she lived with her brother. They had talked about everything except themselves. Perhaps her reticence had been caused by his.