"'Tell us what's in the letter,' says Texas, turnin' the document over to Boggs. 'Read her out, Dan; I'd play the hand, but I has to ride herd on the culprit.'
"'I can't read it,' says Boggs, handin' the note to Tutt; 'I can't read readin', let alone writin'. But I'm free to say, even without hearin' that document none, that I shorely hesitates to string this party up. Bein' tongueless, an' not hearin' a lick more'n adders, somehow he keeps appealin' to me like he's locoed.'
"'Which if you ever has the pleasure to play some poker with him,' says Tutt, as he onfolds the paper, 'like I do three nights ago, you wouldn't be annoyin' yourse'f about his bein' locoed. I finds him plenty deep an' wary, not to say plumb crafty. Another thing, it's plain he not only gets letters, but we-all sees him write about his drinks to Black Jack, the Red Light barkeep, an' sim'lar plays.'
"By this time, Tutt's got the letter open, an' is gettin' ready to read. The dumb man's been standin' thar all the time, with his arms roped behind him, an' lookin' like hope has died; an' also like he ain't carin' much about it neither. When Tutt turns open the letter, I notices the tears kind o' start in his eyes, same as if he's some affected sentimental.
"'Which this yere commoonication is plenty brief,' says Tutt, as he rums his eye over it. 'She's dated "Casa Grande," an' reads as follows, to wit:
"'Dear Ben: Myra is dyin'; come at once. A." "'Now, whoever do you reckon this yere Myra is?' asks Tutt, lookin' 'round. 'she's cashin' in, that's obvious; an' I'm puttin' it up she's mighty likely a wife or somethin' of this yere dumb party.' "'That's it,' says Boggs. 'He gets this word that Myra's goin' over the big divide, an' bein' he's gone broke entire on faro-bank, he plunges over to the corral an' rustles Thompson's hoss. Onder sech circumstances, I ain't none shore he's respons'ble. I take-it thar ain't much doubt but Myra's his wife that a-way, in which event my idee is he only borrys Thompson's pinto. Which nacherally, as I freely concedes, this last depends on Myra's bein' his wife.' "'Oh, not necessarily,' says Texas Thompson; 'thar's a heap of wives who don't jestify hosstealiil' a little bit. Now I plays it open, Myra's this dumb gent's mother, an' on sech a theery an' that alone, I removes the lariat from his arms an' throws him loose. But don't try to run no wife bluff on me; I've been through the wife question with a blazin' pine-knot in my hand, an' thar's nothin' worth while concealed tharin.' "'Which I adopts the ainendiricnt,' says Boggs, 'an' on second thought, I strings my chips with Texas, that this yere Myra's his mother. I've got the money that says so.' "'At any rate,' says Tutt, 'from all I sees, I reckons it's the general notion that we calls this thing a draw. We can't afford to go makin' a preecedent of hangin' a gent for hoss-stealin' who's only doin' his best to be present at this Myra's fooneral, whoever she may be. It's a heap disgustin', however, that we can't open up a talk with this party. Which I now notes by the address his name is McIntyre.' "An' so it turns out that in no time, from four gents who's dead set to hang this dumb man as a boss-thief, we turns into a sympathetic outfit which is diggin' holes for his escape. It all dovetails in with what my scientist says this mornin' about them moral epidemics,' an' things goin' that a-way in waves. For, after all, Myra or no Myra, this yere dumb man steals that pinto hoss. "However, whether it's right or wrong, we turns the dumb man free. Not only that, but Boggs gets out of the saddle an' gives him his pony to pursoo them rambles with. "'I gives it to him because it's the best pony in the outfit,' says Boggs, lookin' savage at us, as he puts the bridle in the dumb gent's hands. 'It can run like a antelope, that pony can; an' that's why I donates it to this dumb party. Once he's started, even if we- all changes our moods, he's shore an' safe away for good. Moreover, a gent whose mother's dyin', can't have too good a hoss. If he don't step on no more cactus, an' half rides, he's doo to go chargin' into Casa Grande before they loses Myra, easy.'"
CHAPTER XI.
How Prince Hat Got Help.
"Come yere, you boy Torn." It was the Old Cattleman addressing his black satellite. "Stampede up to their rooms of mine an' fetch me my hat; the one with the snakeskin band. My head ain't feelin' none too well, owin' to the barkeep of this hostelry changin' my drinks, an' that rattlesnake band oughter absorb them aches an' clar'fy my roominations a heap. Now, vamos!" he continued, as Tom seemed to hesitate, "the big Stetson with the snakeskin onto it.
"An' how be you stackin' up yours'ef?" observed the old gentleman, turning to me as his dark agent vanished in quest of head-bear. "Which you shorely looks as worn an' weary as a calf jest branded. It'll do you good to walk a lot; better come with me. I sort o' orig'nates the notion that I'll go swarmin' about permiscus this mornin' for a hour or so, an cirk'late my blood, an' you-all is welcome to attach yourse'f to the scheme. Thar's nothin' like exercise, that a-way, as Grief Mudlow allows when he urges his wife to take in washin'. You've done heard of Grief Mudlow, the laziest maverick in Tennessee?"
I gave my word that not so much as a rumor of the person Mudlow had reached me. My friend expressed surprise. It was now that the black boy Tom came up with the desired hat. Tom made his approach with a queer backward and forward shuffle, crooning to himself the while:
"Rain come wet me, sun come dry me. Take keer, white man, don't come nigh me." "Stop that double- shufflin' an' wing dancin'," remonstrated the old gentleman severely, as he took the hat and fixed it on his head. "I don't want no frivolities an' merry-makin's 'round me. Which you're always jumpin' an' dancin' like one of these yere snapjack bugs. I ain't aimin' at pompousness none, but thar's a sobriety goes with them years of mine which I proposes to maintain if I has to do it with a blacksnake whip. So you-all boy Tom, you look out a whole lot! I'm goin' to break you of them hurdy-gurdy tendencies, if I has to make you wear hobbles an' frale the duds off your back besides."
Tom smiled toothfully, yet in confident fashion, as one who knows his master and is not afraid.
"So you never hears of Grief Mudlow?" he continued, as we strolled abroad on our walk. "I reckons mebby you has, for they shore puts Grief into a book once, commemoratin' of his laziness. How lazy is he? Well, son, he could beat Mexicans an' let 'em deal. He's raised away off cast, over among the knobs of old Knox County, Grief is, an' he's that lazy he has to leave it on account of the hills.
"'She's too noomerous in them steeps an' deecliv'ties,' says Grief. 'What I needs is a landscape where the prevailin' feacher is the hor'zontal. I was shorely born with a yearnin' for the level ground.' An' so Grief moves his camp down on the river bottoms, where thar ain't no hills.
"He's that mis'rable idle an' shiftless, this yere Grief is, that once he starts huntin' an' then decides he won't. Grief lays down by the aige of the branch, with his moccasins towards the water. It starts in to rain, an' the storm prounces down on Grief like a mink: on a settin' hen. One of his pards sees him across the branch an' thinks he's asleep. So he shouts an' yells at him.
"'Whoopee, Grief!' he sings over to where Grief's layin' all quiled up same as a water-moccasin snake, an' the rain peltin' into him like etarnal wrath; 'wake up thar an' crawl for cover!'
"'I'm awake,' says Grief.
"'Well, why don't you get outen the rain?'
"'I'm all wet now an' the rain don't do no hurt,' says Grief.
"An' this yere lazy Grief Mudlow keeps on layin' thar. It ain't no time when the branch begins to raise; the water crawls up about Grief's feet. So his pard shouts at him some more:
"'Whoopee, you Grief ag'in!' he says. 'If you don't pull your freight, the branch'll get you. It's done riz over the stock of your rifle.'
"'Water won't hurt the wood none,' says Grief.
"'You Grief over thar!' roars the other after awhile; 'your feet an' laigs is half into the branch, an' the water's got up to the lock of your gun.'
"'Thar's no load in the gun,' says Grief, still a-layin', 'an' besides she needs washin' out. As for them feet an' laigs, I never catches cold.'
"An' thar that ornery Grief reposes, too plumb lazy to move, while the branch creeps up about him. It's crope up so high, fin
al, that his y'ears an' the back of his head is in it. All Grief does is sort o' lift his chin an' lay squar', to keep his nose out so's he can breathe.
An' he shorely beats the game; for the rain ceases, an' the branch don't rise no higher. This yere Grief lays thar ontil the branch runs down an' he's high an' dry ag'in, an' then the sun shines out an' dries his clothes. It's that same night when Grief has drug himse'f home to supper, he says to his wife, 'Thar's nothin' like exercise,' an' then counsels that lady over his corn pone an' chitlins to take in washin' like I relates."
We walked on in mute consideration of the extraordinary indolence of the worthless Mudlow. Our silence obtained for full ten minutes. Then I proposed "courage" as a subject, and put a question.
"Thar's fifty kinds of courage," responded my companion, "an' a gent who's plumb weak an' craven, that a-way, onder certain circumstances, is as full of sand as the bed of the Arkansaw onder others. Thar's hoss-back courage an' thar's foot courage, thar's day courage an' night courage, thar's gun courage an' knife courage, an' no end of courages besides. An' then thar's the courage of vanity. More'n once, when I'm younger, I'm swept down by this last form of heroism, an' I even recalls how in a sperit of vainglory I rides a buffalo bull. I tells you, son, that while that frantic buffalo is squanderin' about the plains that time, an' me onto him, he feels a mighty sight like the ridge of all the yooniverse. How does it end? It's too long a tale to tell walkin' an' without reecooperatifs; suffice it that it ends disastrous. I shall never ride no buffalo ag'in, leastwise without a saddle, onless its a speshul o'casion.
"No, indeed, that word 'courage' has to be defined new for each case. Thar's old Tom Harris over on the Canadian. I beholds Tom one time at Tascosa do the most b'ar-faced trick; one which most sports of common sens'bilities would have shrunk from. Thar's a warrant out for Tom, an' Jim East the sheriff puts his gun on Tom when Tom's lookin' t'other way.
"'See yere, Harris!' says East, that a-way.
"Tom wheels, an' is lookin' into the mouth of East's six-shooter not a yard off.
"'Put up your hands!' says East.
"But Tom don't. He looks over the gun into East's eye; an' he freezes him. Then slow an' delib'rate, an' glarin' like a mountain lion at East, Tom goes back after his Colt's an' pulls it. He lays her alongside of East's with the muzzle p'intin' at East's eye. An' thar they stands. "'You don't dar' shoot!' says Tom; an' East don't. "They breaks away an' no powder burned; Tom stands East off. "'Warrant or no warrant,' says Tom, 'all the sheriffs that ever jingles a spur in the Panhandle country, can't take me! Nor all the rangers neither!' An' they shore couldn't. "Now this yere break-away of Tom's, when East gets the drop that time, takes courage. It ain't one gent in a thousand who could make that trip but Tom. An' yet this yere Tom is feared of a dark room. "Take Injuns;—give 'em their doo, even if we ain't got room for them miscreants in our hearts. On his lines an' at his games, a Injun is as clean strain as they makes. He's got courage, an' can die without battin' an eye or waggin' a y'ear, once it's come his turn. An' the squaws is as cold a prop'sition as the bucks. After a fight with them savages, when you goes 'round to count up an' skin the game, you finds most as many squaws lyin' about, an' bullets through 'em, as you finds bucks.
"Courage is sometimes knowledge, sometimes ignorance; sometimes courage is desp'ration, an' then ag'in it's innocence. "Once, about two miles off, when I'm on the Staked Plains, an' near the aige where thar's pieces of broken rock, I observes a Mexican on foot, frantically chunkin' up somethin'. He's left his pony standin' off a little, an' has with him a mighty noisy form of some low kind of mongrel dog, this latter standin' in to worry whatever it is the Mexican's chunkin' at, that a-way. I rides over to investigate the war-jig; an' I'm a mesquite digger! if this yere transplanted Castillian ain't done up a full-grown wild cat! It's jest coughin' its last when I arrives. Son, I wouldn't have opened a game on that feline—the same bein' as big as a coyote, an' as thoroughly organized for trouble as a gatling—with anythin' more puny than a Winchester. An' yet that guileless Mexican lays him out with rocks, and regyards sech feats as trivial. An American, too, by merely growlin' towards this Mexican, would make him quit out like a jack rabbit. "As I observes prior, courage is frequent the froots of what a gent don't know. Take grizzly b'ars. Back fifty years, when them squirrel rifles is preevalent; when a acorn shell holds a charge of powder, an' bullets runs as light an' little as sixty-four to the pound, why son! you-all could shoot up a grizzly till sundown an' hardly gain his disdain. It's a fluke if you downs one. That sport who can show a set of grizzly b'ar claws, them times, has fame. They're as good as a bank account, them claws be, an' entitles said party to credit in dance hall, bar room an' store, by merely slammin' 'em on the counter. "At that time the grizzly b'ar has courage. Whyever does he have it, you asks? Because you couldn't stop him; he's out of hoomanity's reach—a sort o' Alexander Selkirk of a b'ar, an' you couldn't win from him. In them epocks, the grizzly b'ar treats a gent contemptuous. He swats him, or he claws him, or he hugs him, or he crunches him, or he quits him accordin' to his moods, or the number of them engagements which is pressin' on him at the time. An' the last thing he considers is the feelin's of that partic'lar party he's dallyin' with. Now, however, all is changed. Thar's rifles, burnin' four inches of this yere fulminatin' powder, that can chuck a bullet through a foot of green oak. Wisely directed, they lets sunshine through a grizzly b'ar like he's a pane of glass. An', son, them b'ars is plumb onto the play.
"What's the finish? To-day you can't get clost enough to a grizzly to hand him a ripe peach. Let him glimpse or smell a white man, an' he goes scatterin' off across hill an' canyon like a quart of licker among forty men. They're shore apprehensife of them big bullets an' hard-hittin' guns, them b'ars is; an' they wouldn't listen to you, even if you talks nothin' but bee-tree an' gives a bond to keep the peace besides. Yes, sir; the day when the grizzly b'ar will stand without hitchin' has deeparted the calendar a whole lot. They no longer attempts insolent an' coarse familiar'ties with folks. Instead of regyardin' a rifle as a rotton cornstalk in disguise, they're as gun-shy as a female institoote. Big b'ars an' little bars, it's all sim'lar; for the old ones tells it to the young, an' the lesson is spread throughout the entire nation of b'ars. An' yere's where you observes, enlightenment that a-way means a- weakenin' of grizzly-b'ar courage.
"What's that, son? You-all thinks my stories smell some tall! You expresses doubts about anamiles conversin' with one another? That's where you're ignorant. All anamiles talks; they commoonicates the news to one another like hoomans. When I've been freightin' from Dodge down towards the Canadian, I had a eight-mule team. As shore as we're walkin'—as shore as I'm pinin' for a drink, I've listened to them mules gossip by the hour as we swings along the trail. Lots of times I saveys what they says. Once I hears the off-leader tell his mate that the jockey stick is sawin' him onder the chin. I investigates an' finds the complaint troo an' relieves him. The nigh swing mule is a wit; an' all day long he'd be throwin' off remarks that keeps a ripple of laughter goin' up an' down the team. You-all finds trouble creditin' them statements. Fact, jest the same. I've laughed at the jokes of that swing mule myse'f; an' even Jerry, the off wheeler, who's a cynic that a-way, couldn't repress a smile. Shore! anamiles talks all the time; it's only that we-all hoomans ain't eddicated to onderstand.
"Speakin' of beasts talkin', let me impart to you of what passes before my eyes over on the Caliente. In the first place, I'll so far illoomine your mind as to tell you that cattle, same as people—an' speshully mountain cattle, where the winds an snows don't get to drive 'em an' drift 'em south—lives all their lives in the same places, year after year; an' as you rides your ranges, you're allers meetin' up with the same old cattle in the same canyons. They never moves, once they selects a home.
"As I observes, I've got a camp on the Caliente. Thar's ten ponies in my bunch, as I'm saddlin' three a day an' coverin' a considerable deal of range in my ridin'. Seein' as I'm camped yere some s
ix months, I makes the aquaintance of the cattle for over twenty miles 'round. Among others, thar's a giant bull in Long's Canyon—he's shoreiy as big as a log house. Him an' me is partic'lar friends, cnly I don't track up on him more frequent than once a week, as he's miles from my camp. I almost forgets to say that with this yere Goliath bull is a milk-white steer, with long, slim horns an' a face which is the combined home of vain conceit an' utter witlessness. This milky an' semi-ediotic steer is a most abject admirer of the Goliath bull, an' they're allers together. As I states, this mountain of a bull an' his weak-minded follower lives in Long's Canyon.
"Thar's two more bulls, the same bein', as Colonel Sterett would say, also 'persons of this yere dramy.' One is a five-year-old who abides on the upper Red River; an' the other, who is only a three- year-old, hangs out on the Caliente in the vicinity of my camp.
"Which since I've got to talk of an' concernin' them anamiles, I might as well give 'em their proper names. They gets these last all reg'lar from a play-actor party who comes swarmin' into the hills while I'm thar to try the pine trees on his 'tooberclosis,' as he describes said malady, an' whose weakness is to saw off cognomens on everythin' he sees. As fast as he's introdooced to 'em, this actor sport names the Long's Canyon bull 'Falstaff'; the Red River five- year-old 'Hotspur,' bein' he's plumb b'lligerent an' allers makin' war medicine; while the little three-year-old, who inhabits about my camp in the Caliente, he addresses as 'Prince Hal.' The fool of a white steer that's worshippin' about 'Falstaff' gets named 'Pistol,' although thar's mighty little about the weak-kneed humbug to remind you of anythin' as vehement as a gun. Falstaff, Pistol, Hotspur an' Prince Hal; them's the titles this dramatist confers on said cattle.
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