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Like a coquettish pigeon the little boat tacked on its eccentric way until at last its white sail was lost to sight against the larger bulk of the fruiter's side.
“That's old H. P. Mellinger,” explained Keogh, dropping back into his chair. “He's going back to New York. He was private secretary of the late hot-foot president of this grocery and fruit stand that they call a country. His job's over now; and I guess old Mellinger is glad.”
“Why does he disappear to music, like Zo-zo, the magic queen?” asked Johnny. “Just to show 'em that he doesn't care?”
“That noise you heard is a phonograph," said Keogh. "I sold him that. Mellinger had a graft in this country that was the only thing of its kind in the world. The tooting machine saved it for him once, and he always carried it around with him afterward.”
“Tell me about it,” demanded Johnny, betraying interest.
"I'm no disseminator of narratives,” said Keogh. “I can use language for purposes of speech; but when I attempt a discourse the words come out as they will, and they may make sense when they strike the atmosphere, or they may not."
“I want to hear about that graft,” persisted Johnny. "You've got no right to refuse. I've told you all about every man, woman and hitching post in Dalesburg.”
"You shall hear it,” said Keogh. “I said my instincts of narrative were perplexed. Don't you believe it. It's an art I've acquired along with many other of the graces and sciences."
THE PHONOGRAPH AND THE GRAFT
"WHAT was this graft?” asked Johnny, with the impatience of the great public to whom tales are told.
“ 'Tis contrary to art and philosophy to give you the information,” said Keogh, calmly. “The art of narrative consists in concealing from your audience everything it wants to know until after you expose your favourite opinions on topics foreign to the subject. A good story is like a bitter pill with the sugar coating inside of it. I will begin, if you please, with a horoscope located in the Cherokee Nation; and end with a moral tune on the phonograph.
“Me and Henry Horsecollar brought the first phonograph to this country. Henry was a quarterbreed, quarter-back Cherokee, educated East in the idioms of football, and West in contraband whisky, and a gentleman, the same as you and me.
He was easy and romping in his ways; a man about six foot, with a kind of rubber-tire movement. Yes, he was a little man about five foot five, or five foot eleven. He was what you would call a medium tall man of average smallness. Henry had quit college once, and the Muscogee jail three times -- the last-named institution on account of introducing and selling whisky in the territories. Henry Horsecollar never let any cigar stores come up and stand behind him. He didn't belong to that tribe of Indians.
“Henry and me met at Texarkana, and figured out this phonograph scheme. He had $360 which came to him out of a land allotment in the reservation. I had run down from Little Rock on account of a distressful scene I had witnessed on the street there. A man stood on a box and passed around some gold watches, screw case, stem-winders, Elgin movement, very elegant. Twenty bucks they cost you over the counter. At three dollars the crowd fought for the tickers. The man happened to find a valise full of them handy, and he passed them out like putting hot biscuits on a plate. The backs were hard to unscrew, but the crowd put its ear to the case, and they ticked mollifying and agreeable. Three of these watches were genuine tickers; the rest were only kickers. Hey? Why, empty cases with one of them horny black bugs that fly around electric lights in 'em. Them bugs kick off minutes and seconds industrious and beautiful. So, this man I was speaking of cleaned up $288; and then he went away, because he knew that when it came time to wind watches in Little Rock an entomologist would be needed, and he wasn't one.
“So, as I say, Henry had $360, and I had $288. The idea of introducing the phonograph to South America was Henry's; but I took to it freely, being fond of machinery of all kinds.
66 "The Latin races,' says Henry, explaining casy in the idioms he learned at college, ‘are peculiarly adapted to be victims of the phonograph. They have the artistic temperament. They yearn for music and color and gaiety. They give wampum to the hand-organ man and the four-legged chicken in the tent when they're months behind with the grocery and the bread-fruit tree.'
“ “Then,' says I, 'we'll export canned music to the Latins; but I'm mindful of Mr. Julius Cæsar's account of 'em where he says: “Omnia Gallia in tres partes divisa est;” which is the same as to say, “We will need all of our gall in devising means to tree them parties.”
“I hated to make a show of education; but I was disinclined to be overdone in syntax by a mere Indian, a member of a race to which we owe nothing