Chapter XI (2)

So dat all right. Li’l’ black Mose he scrooge’ back in de corner by de fireplace, an’ he ’low’ he gwine stay dere till he gwine _to_ bed. But byme-by Sally Ann, whut live’ up de road, draps in, an’ Mistah Sally Ann, whut is her husban’, he draps in, an’ Zack Badget an’ de school-teacher whut board’ at Unc’ Silas Diggs’s house drap in, an’ a powerful lot ob folks drap in. An’ li’l’ black Mose he seen dat gwine be one s’prise-party, an’ he right down cheerful ’bout dat.

So all dem folks shake dere hands an’ ’low “Howdy,” an’ some ob dem say: “Why, dere’s li’l’ Mose! Howdy, li’l’ Mose!” An’ he so please’ he jes grin’ an’ grin’, ’ca’se he ain’t reckon whut gwine happen. So byme-by Sally Ann, whut live up de road, she say’, “Ain’t no sort o’ Hallowe’en lest we got a jack-o’-lantern.” An’ de school-teacher, whut board at Unc’ Silas Diggs’s house, she ’low’, “Hallowe’en jes no Hallowe’en _at_ all ’thout we got a jack-o’-lantern.” An’ li’l’ black Mose he stop’ a-grinnin’, an’ he scrooge’ so far back in de corner he ’mos’ scrooge frough de wall. But dat ain’t no use, ’ca’se he ma say’, “Mose, go on down to de pumpkin-patch an’ fotch a pumpkin.”

“I ain’t want to go,” say’ li’l’ black Mose.

“Go on erlong wid yo’,” say’ he ma, right commandin’.

“I ain’t want to go,” say’ Mose ag’in.

“Why ain’t yo’ want to go?” he ma ask’.

“‘WHUT YO’ WANT TO SAY UNTO ME?’ _IN_QUIRE’ LI’L’ BLACK MOSE”]

“’Ca’se I’s afraid ob de ghosts,” say’ li’l’ black Mose, an’ dat de particular truth an’ no mistake.

“Dey ain’t no ghosts,” say’ de school-teacher, whut board at Unc’ Silas Diggs’s house, right peart.

“’Ca’se dey ain’t no ghosts,” say’ Zack Badget, whut dat ’fear’d ob ghosts he ain’t dar’ come to li’l’ black Mose’s house ef de school-teacher ain’t ercompany him.

“Go ’long wid your ghosts!” say’ li’l’ black Mose’s ma.

“Wha’ yo’ pick up dat nomsense?” say’ he pa. “Dey ain’t no ghosts.”

An’ dat whut all dat s’prise-party ’low: dey ain’t no ghosts. An’ dey ’low dey mus’ hab a jack-o’-lantern or de fun all sp’iled. So dat li’l’ black boy whut he name is Mose he done got to fotch a pumpkin from de pumpkin-patch down de hollow. So he step’ outen de shanty an’ he stan’ on de door-step twell he get’ he eyes pried open as big as de bottom ob he ma’s wash-tub, mostly, an’ he say’, “Dey ain’t no ghosts.” An’ he put’ one foot on de ground, an’ dat was de fust step.

An’ de rain-dove say’, “Oo-_oo_-o-o-o!”

An’ li’l’ black Mose he tuck anudder step.

An’ de owl mourn’ out, “Whut-_whoo_-o-o-o!”

An’ li’l’ black Mose he tuck anudder step.

An’ de wind sob’ out, “You-_you_-o-o-o!”

An’ li’l’ black Mose he tuck one look ober he shoulder, an’ he shut he eyes so tight dey hurt round de aidges, an’ he pick’ up he foots an’ run. Yas, sah, he run’ right peart fast. An’ he say’: “Dey ain’t no ghosts. Dey ain’t no ghosts.” An’ he run’ erlong de paff whut lead’ by de buryin’-ground on de hill, ’ca’se dey ain’t no fince eround dat buryin’-ground _at_ all.

No fince; jes de big trees whut de owls an’ de rain-doves sot in an’ mourn an’ sob, an’ whut de wind sigh an’ cry frough. An’ byme-by somefin’ jes _brush’_ li’l’ Mose on de arm, which mek’ him run jes a bit more faster. An’ byme-by somefin’ jes _brush’_ li’l’ Mose on de cheek, which mek’ him run erbout as fast as he can. An’ byme-by somefin’ _grab’_ li’l’ Mose by de aidge of he coat, an’ he fight’ an’ struggle’ an’ cry’ out: “Dey ain’t no ghosts. Dey ain’t no ghosts.” An’ dat ain’t nuffin’ but de wild brier whut grab’ him, an’ dat ain’t nuffin’ but de leaf ob a tree whut brush’ he cheek, an’ dat ain’t nuffin’ but de branch ob a hazel-bush whut brush’ he arm. But he downright scared jes de same, an’ he ain’t lose no time, ’ca’se de wind an’ de owls an’ de rain-doves dey signerfy whut ain’t no good. So he scoot’ past dat buryin’-ground whut on de hill, an’ dat cemuntary whut betwixt an’ between, an’ dat grabeyard in de hollow, twell he come’ to de pumpkin-patch, an’ he rotch’ down an’ tek’ erhold ob de bestest pumpkin whut in de patch. An’ he right smart scared. He jes de mostest scared li’l’ black boy whut yever was. He ain’t gwine open he eyes fo’ nuffin’, ’ca’se de wind go, “You-_you_-o-o-o!” an’ de owls go, “Whut-_whoo_-o-o-o!” an’ de rain-doves go, “Oo-_oo_-o-o-o!”

He jes speculate’, “Dey ain’t no ghosts,” an’ wish’ he hair don’t stand on ind dat way. An’ he jes cogitate’, “Dey ain’t no ghosts,” an’ wish’ he goose-pimples don’t rise up dat way. An’ he jes ’low’, “Dey ain’t no ghosts,” an’ wish’ he backbone ain’t all trembulous wid chills dat way. So he rotch’ down, an’ he rotch’ down, twell he git’ a good hold on dat pricklesome stem of dat bestest pumpkin whut in de patch, an’ he jes yank’ dat stem wid all he might.

“_Let loosen my head!_” say’ a big voice all on a suddent.

Dat li’l’ black boy whut he name is Mose he jump’ ’most outen he skin. He open’ he eyes, an’ he ’gin’ to shake like de aspen-tree, ’ca’se whut dat a-standin’ right dar behint him but a ’mendjous big ghost! Yas, sah, dat de bigges’, whites’ ghost whut yever was. An’ it ain’t got no head. Ain’t got no head _at_ all! Li’l’ black Mose he jes drap’ on he knees an’ he beg’ an’ pray’:

“Oh, ’scuse me! ’Scuse me, Mistah Ghost!” he beg’. “Ah ain’t mean no harm _at_ all.”

“Whut for you try to take my head?” ask’ de ghost in dat fearsome voice whut like de damp wind outen de cellar.

“’Scuse me! ’Scuse me!” beg’ li’l’ Mose. “Ah ain’t know dat was yo’ head, an’ I ain’t know you was dar _at_ all. ’Scuse me!”

“Ah ’scuse you ef you do me dis favor,” say’ de ghost. “Ah got somefin’ powerful _im_portant to say unto you, an’ Ah can’t say hit ’ca’se Ah ain’t got no head; an’ whin Ah ain’t got no head, Ah ain’t got no mouf, an’ whin Ah ain’t got no mouf, Ah can’t talk _at_ all.”

An’ dat right logical fo’ shore. Can’t nobody talk whin he ain’t got no mouf, an’ can’t nobody have no mouf whin he ain’t got no head, an’ whin li’l’ black Mose he look’, he see’ dat ghost ain’t got no head _at_ all. Nary head.

So de ghost say’:

“Ah come on down yere fo’ to git a pumpkin fo’ a head, an’ Ah pick’ dat _ix_act pumpkin whut yo’ gwine tek, an’ Ah don’t like dat one bit. No, sah. Ah feel like Ah pick yo’ up an’ carry yo’ away, an’ nobody see you no more for yever. But Ah got somefin’ powerful _im_portant to say unto yo’, an’ if yo’ pick up dat pumpkin an’ sot it on de place whar my head ought to be, Ah let you off dis time, ’ca’se Ah ain’t been able to talk fo’ so long Ah right hongry to say somefin’.”

So li’l’ black Mose he heft up dat pumpkin, an’ de ghost he bend’ down, an’ li’l’ black Mose he sot dat pumpkin on dat ghostses neck. An’ right off dat pumpkin head ’gin’ to wink an’ blink like a jack-o’-lantern, an’ right off dat pumpkin head ’gin’ to glimmer an’ glow frough de mouf like a jack-o’-lantern, an’ right off dat ghost start’ to speak. Yas, sah, dass so.

“Whut yo’ want to say unto me?” _in_quire’ li’l’ black Mose.

“Ah want to tell yo’,” say’ de ghost, “dat yo’ ain’t need yever be skeered of ghosts, ’ca’se dey ain’t no ghosts.”

An’ whin he say dat, de ghost jes vanish’ away like de smoke in July. He ain’t even linger round dat locality like de smoke in Yoctober. He jes dissipate’ outen de air, an’ he gone _in_tirely.

So li’l’ Mose he grab’ up de nex’ bestest pumpkin an’ he scoot’. An’ whin he come’ to de grabeyard in de hollow, he goin’ erlong same as yever, on’y faster, whin he reckon’ he’ll pick up a club _in_ case he gwine have trouble. An’ he rotch’ down an rotch’ down an’ tek’ hold of a likely appearin’ hunk o’ wood what right dar. An’ whin he grab’ dat hunk of wood--

“_Let loosen my leg!_” say’ a big voice all on a suddent.

Dat li’l’ black boy ’most jump’ outen he skin, ’ca’se right dar in de paff is six ’mendjus big ghostes, an’ de bigges’ ain’t got but one leg. So li’l’ black Mose jes natchully handed dat hunk of wood to dat bigges’ ghost, an’ he say’:

“’Scuse me, Mistah Ghost; Ah ain’t know dis your leg.”

An’ whut dem six ghostes do but stand round an’ confabulate? Yas, sah, dass so. An’ whin dey do so, one say’:

“’Pears like dis a mighty likely li’l’ black boy. Whut we gwine do fo’ to _re_ward him fo’ politeness?”

An’ anudder say’:

“Tell him whut de truth is ’bout ghostes.”

So de bigges’ ghost he say’:

“Ah gwine tell yo’ somefin’ _im_portant whut yever’body don’t know: Dey _ain’t_ no ghosts.”

An’ whin he say’ dat, de ghostes jes natchully vanish away, an’ li’l’ black Mose he proceed’ up de paff. He so scared he hair jes yank’ at de roots, an’ whin de wind go’, “Oo-_oo_-o-o-o!” an de owl go’, “Whut-_whoo_-o-o-o!” an’ de rain-doves go, “You-_you_-o-o-o!” he jes tremble’ an’ shake’. An’ byme-by he come’ to de cemuntary whut betwixt an’ between, an’ he shore is mighty skeered, ’ca’se dey is a whole comp’ny of ghostes lined up along de road, an’ he ’low’ he ain’t gwine spind no more time palaverin’ wid ghostes. So he step’ offen de road fo’ to go round erbout, an’ he step’ on a pine-stump whut lay right dar.

“_Git offen my chest!_” say’ a big voice all on a suddent, ’ca’se dat stump am been selected by de captain ob de ghostes for to be he chest, ’ca’se he ain’t got no chest betwixt he shoulders an’ he legs. An’ li’l’ black Mose he hop’ offen dat stump right peart. Yes, _sah_; right peart.

“’Scuse me! ’Scuse me!” dat li’l’ black Mose beg’ an’ plead’, an’ de ghostes ain’t know whuther to eat him all up or not, ’ca’se he step’ on de boss ghostes’s chest dat a-way. But byme-by they ’low they let him go ’ca’se dat was an accident, an’ de captain ghost he say’, “Mose, you Mose, Ah gwine let you off dis time, ’ca’se you ain’t nuffin’ but a misabul li’l’ tremblin’ nigger; but Ah want you should _re_mimber one thing mos’ particular’.”

“Ya-yas, sah,” say’ dat li’l’ black boy; “Ah, ’ll remimber. Whut is dat Ah got to remimber?”

De captain ghost he swell’ up, an’ he swell’ up, twell he as big as a house, an’ he say’ in a voice whut shake’ de ground:

“Dey ain’t no ghosts.”

So li’l’ black Mose he bound to remimber dat, an’ he rise’ up an’ mek’ a bow, an’ he proceed’ toward home right libely. He do, indeed.

An’ he gwine along jes as fast as he kin, whin he come’ to de aidge ob de buryin’-ground whut on de hill, an’ right dar he bound to stop, ’ca’se de kentry round about am so populate’ he ain’t able to go frough. Yas, sah, seem’ like all de ghostes in de world habin’ a conferince right dar. Seem’ like all de ghosteses whut yever was am havin’ a convintion on dat spot. An’ dat li’l’ black Mose so skeered he jes fall’ down on a’ old log whut dar an’ screech’ an’ moan’. An’ all on a suddent de log up and spoke:

“_Get offen me! Get offen me!_” yell’ dat log.

So li’l’ black Mose he git’ offen dat log, an’ no mistake.

An’ soon as he git’ offen de log, de log uprise, an’ li’l’ black Mose he see’ dat dat log am de king ob all de ghostes. An’ whin de king uprise, all de congergation crowd round li’l’ black Mose, an’ dey am about leben millium an’ a few lift over. Yas, sah; dat de reg’lar annyul Hallowe’en convintion whut li’l’ black Mose interrup’. Right dar am all de sperits in de world, an’ all de ha’nts in de world, an’ all de hobgoblins in de world, an’ all de ghouls in de world, an’ all de spicters in de world, an’ all de ghostes in de world. An’ whin dey see li’l’ black Mose, dey all gnash dey teef an’ grin’ ’ca’se it gettin’ erlong toward dey-all’s lunch-time. So de king, whut he name old Skull-an’-Bones, he step’ on top ob li’l’ Mose’s head, an’ he say’:

“Gin’l’min, de convintion will come to order. De sicretary please note who is prisint. De firs’ business whut come’ before de convintion am: whut we gwine do to a li’l’ black boy whut stip’ on de king an’ maul’ all ober de king an’ treat’ de king dat disrespictful’.”

An’ li’l’ black Mose jes moan’ an’ sob’:

“’Scuse me! ’Scuse me, Mistah King! Ah ain’t mean no harm _at_ all.”

But nobody ain’t pay no _at_tintion to him _at_ all, ’ca’se yevery one lookin’ at a monstrous big ha’nt whut name Bloody Bones, whut rose up an’ spoke.

“’YERE’S DE PUMPKIN’”]

“Your Honor, Mistah King, an’ gin’l’min _an’_ ladies,” he say’, “dis am a right bad case ob _lazy majesty_, ’ca’se de king been step on. Whin yivery li’l’ black boy whut choose’ gwine wander round _at_ night an’ stip on de king ob ghostes, it ain’t no time for to palaver, it ain’t no time for to prevaricate, it ain’t no time for to cogitate, it ain’t no time do nuffin’ but tell de truth, an’ de whole truth, an’ nuffin’ but de truth.”

An’ all dem ghostes sicond de motion, an’ dey confabulate out loud erbout dat, an’ de noise soun’ like de rain-doves goin’, “Oo-_oo_-o-o-o!” an’ de owls goin’, “Whut-_whoo_-o-o-o!” an’ de wind goin’, “You-_you_-o-o-o!” So dat risolution am passed unanermous, an’ no mistake.

So de king ob de ghostes, whut name old Skull-an’-Bones, he place’ he hand on de head ob li’l’ black Mose, an’ he hand feel like a wet rag, an’ he say’:

“Dey ain’t no ghosts.”

An’ one ob de hairs whut on de head ob li’l’ black Mose turn’ white.

An’ de monstrous big ha’nt whut he name Bloody Bones he lay he hand on de head ob li’l’ black Mose, an’ he hand feel like a toadstool in de cool ob de day, an’ he say’:

“Dey ain’t no ghosts.”

An’ anudder ob de hairs whut on de head ob li’l’ black Mose turn’ white.

An’ a heejus sperit whut he name Moldy Pa’m place’ he hand on de head ob li’l’ black Mose, an’ he hand feel like de yunner side ob a lizard, an’ he say’:

“Dey ain’t no ghosts.”

An’ anudder ob de hairs whut on de head ob li’l’ black Mose turn’ white _as_ snow.

An’ a perticklar bend-up hobgoblin he put’ he hand on de head ob li’l’ black Mose, an’ he mek’ dat same _re_mark, an’ dat whole convintion ob ghostes an’ spicters an’ ha’nts an’ yiver’thing, which am more ’n a millium, pass by so quick dey-all’s hands feel lak de wind whut blow outen de cellar whin de day am hot, an’ dey-all say, “Dey ain’t no ghosts.” Yas, sah, dey-all say dem wo’ds so fas’ it soun’ like de wind whin it moan frough de turkentine-trees whut behind de cider-priss. An’ yivery hair whut on li’l’ black Mose’s head turn’ white. Dat whut happen’ whin a li’l’ black boy gwine meet a ghost convintion dat-a-way. Dat’s so he ain’ gwine forgit to remimber dey ain’t no ghostes. ’Ca’se ef a li’l’ black boy gwine imaginate dey _is_ ghostes, he gwine be skeered in de dark. An’ dat a foolish thing for to imaginate.

So prisintly all de ghostes am whiff away, like de fog outen de holler whin de wind blow’ on it, an’ li’l’ black Mose he ain’ see no ’ca’se for to remain in dat locality no longer. He rotch’ down, an’ he raise’ up de pumpkin, an’ he perambulate’ right quick to he ma’s shack, an’ he lift’ up de latch, an’ he open’ de do’, an’ he yenter’ in. An’ he say’:

“Yere’s de pumpkin.”

An’ he ma an’ he pa, an’ Sally Ann, whut live up de road, an’ Mistah Sally Ann, whut her husban’, an’ Zack Badget, an’ de school-teacher whut board at Unc’ Silas Diggs’s house, an’ all de powerful lot of folks whut come to de doin’s, dey all scrooged back in de cornder ob de shack, ’ca’se Zack Badget he been done tell a ghost-tale, an’ de rain-doves gwine, “Oo-_oo_-o-o-o!” an’ de owls am gwine, “Whut-_whoo_-o-o-o!” and de wind it gwine, “You-_you_-o-o-o!” an’ yiver’body powerful skeered. ’Ca’se li’l’ black Mose he come’ a-fumblin’ an’ a-rattlin’ at de do’ jes whin dat ghost-tale mos’ skeery, an’ yiver’body gwine imaginate dat he a ghost a-fumblin’ an’ a-rattlin’ at de do’. Yas, sah. So li’l’ black Mose he turn’ he white head, an’ he look’ roun’ an’ peer’ roun’, an’ he say’:

“Whut you all skeered fo’?”

’Ca’se ef anybody skeered, he want’ to be skeered, too. Dat’s natural. But de school-teacher, whut live at Unc’ Silas Diggs’s house, she say’:

“Fo’ de lan’s sake, we fought you was a ghost!”

So li’l’ black Mose he sort ob sniff an’ he sort ob sneer, an’ he ’low’:

“Huh! dey ain’t no ghosts.”

Den he ma she powerful took back dat li’l’ black Mose he gwine be so uppetish an’ contrydict folks whut know ’rifmeticks an’ algebricks an’ gin’ral countin’ widout fingers, like de school-teacher whut board at Unc’ Silas Diggs’s house knows, an’ she say’:

“Huh! whut you know ’bout ghosts, anner ways?”

An’ li’l’ black Mose he jes kinder stan’ on one foot, an’ he jes kinder suck’ he thumb, an’ he jes kinder ’low’:

“I don’ know nuffin’ erbout ghosts, ’ca’se dey ain’t no ghosts.”

So he pa gwine whop him fo’ tellin’ a fib ’bout dey ain’ no ghosts whin yiver’body know’ dey is ghosts; but de school-teacher, whut board at Unc’ Silas Diggs’s house, she tek’ note de hair ob li’l’ black Mose’s head am plumb white, an’ she tek’ note li’l’ black Mose’s face am de color ob wood-ash, so she jes retch’ one arm round dat li’l’ black boy, an’ she jes snuggle’ him up, an’ she say’:

“Honey lamb, don’t you be skeered; ain’ nobody gwine hurt you. How you know dey ain’t no ghosts?”

An’ li’l’ black Mose he kinder lean’ up ’g’inst de school-teacher whut board at Unc’ Silas Diggs’s house, an’ he ’low’:

“’Ca’se--’ca’se--’ca’se I met de cap’n ghost, an’ I met de gin’ral ghost, an’ I met de king ghost, an’ I met all de ghostes whut yiver was in de whole worl’, an’ yivery ghost say’ de same thing: ’Dey ain’t no ghosts.’ An’ if de cap’n ghost an’ de gin’ral ghost an’ de king ghost an’ all de ghostes in de whole worl’ don’ know ef dar am ghostes, who does?”

“Das right; das right, honey lamb,” say’ de school-teacher. And she say’: “I been s’picious dey ain’ no ghostes dis long whiles, an’ now I know. Ef all de ghostes say dey ain’ no ghosts, dey _ain’_ no ghosts.”

So yiver’body ’low’ dat so ’cep’ Zack Badget, whut been tellin’ de ghost-tale, an’ he ain’ gwine say “Yis” an’ he ain’ gwine say “No,” ’ca’se he right sweet on de school-teacher; but he know right well he done seen plinty ghostes in he day. So he boun’ to be sure fust. So he say’ to li’l’ black Mose:

“’T ain’ likely you met up wid a monstrous big ha’nt what live’ down de lane whut he name Bloody Bones?”

“Yas,” say’ li’l’ black Mose; “I done met up wid him.”

“An’ did old Bloody Bones done tol’ you dey ain’ no ghosts?” say Zack Badget.

“Yas,” say’ li’l’ black Mose, “he done tell me perzackly dat.”

“Well, if _he_ tol’ you dey ain’t no ghosts,” say’ Zack Badget, “I got to ’low dey ain’t no ghosts, ’ca’se he ain’ gwine tell no lie erbout it. I know dat Bloody Bones ghost sence I was a piccaninny, an’ I done met up wif him a powerful lot o’ times, an’ he ain’ gwine tell no lie erbout it. Ef dat perticklar ghost say’ dey ain’t no ghosts, dey _ain’t_ no ghosts.”

So yiver’body say’:

“Das right; dey ain’ no ghosts.”

An’ dat mek’ li’l’ black Mose feel mighty good, ’ca’se he ain’ lak ghostes. He reckon’ he gwine be a heap mo’ comfortable in he mind sence he know’ dey ain’ no ghosts, an’ he reckon’ he ain’ gwine be skeered of nuffin’ never no more. He ain’ gwine min’ de dark, an’ he ain’ gwine min’ de rain-doves whut go’, “Oo-_oo_-o-o-o!” an’ he ain’ gwine min’ de owls whut go’, “Who-_whoo_-o-o-o!” an’ he ain’ gwine min’ de wind whut go’, “You-_you_-o-o-o!” nor nuffin’, nohow. He gwine be brave as a lion, sence he know’ fo’ sure dey ain’ no ghosts. So prisintly he ma say’:

“Well, time fo’ a li’l’ black boy whut he name is Mose to be gwine up de ladder to de loft to bed.”

An’ li’l’ black Mose he ’low’ he gwine wait a bit. He ’low’ he gwine jes wait a li’l’ bit. He ’low’ he gwine be no trouble _at_ all ef he jes been let wait twell he ma she gwine up de ladder to de loft to bed, too. So he ma she say’:

“Git erlong wid yo’! Whut yo’ skeered ob whin dey ain’t no ghosts?”

An’ li’l’ black Mose he scrooge’, and he twist’, an’ he pucker’ up de mouf, an’ he rub’ he eyes, an’ prisintly he say’ right low:

“I ain’ skeered ob ghosts whut am, ’ca’se dey ain’ no ghosts.”

“Den whut _am_ yo’ skeered ob?” ask he ma.

“Nuffin’,” say’ de li’l’ black boy whut he name is Mose; “but I jes feel kinder oneasy ’bout de ghosts whut ain’t.”

Jes lak white folks! Jes lak white folks!

NEMOURS: A TYPICAL FRENCH PROVINCIAL TOWN

BY ROGER BOUTET DE MONVEL

WITH PICTURES BY BERNARD B. DE MONVEL

It is only a little provincial town, like many others in France. It has no famous monument, and the immediate neighborhood is neither imposing nor celebrated. And yet this little town, with its quiet streets, its modest houses, its limpid river, and its Champs de Mars, where in fine weather the prominent citizens come to discuss the events of the day, has a tranquil and intimate charm of its own, and the country thereabouts is so rich in smiling, changing views,--moist fields along the water’s-edge, wild heaths, and villages bathed in sunlight,--that the whole makes a picture that wins one’s heart at first sight.

Nemours lies in the department of Seine-et-Marne, that old part of France which used to be called La Brie, on the road leading from Fontainebleau to Montargis. As you approach the outlying houses, you come upon the first bridge that crosses the canal, on the sluggish waters of which glide unwieldy boats, heavily laden with wood, blocks of stone, or fine sand, and towed by mules or donkeys. Once over the bridge, to the right lies the main street, the Rue de Paris--naturally, for what town of the provinces is without its Rue de Paris? And what Rue de Paris has not, on one side, a window with a tempting display of delicacies, and on the other, the shops of the haberdasher, the grain-seller, the ironmonger, the harness-maker, and the barber, who, in his shirt-sleeves, stands at his door waiting for customers; and last, the Café du Progrès, where, gathered about little tables, the men drink, and hold forth on the future of France. Then you cross a second stream, bordered with old lime-trees and overshadowed by the high walls of the convent. Here is the Hôtel de l’Ecu, which still has the royal arms on its worn façade, and in front of which the mail-coaches used to stop; here is the market-place; the church, which dates from the thirteenth century; and, before the church, the statue of the great man of the neighborhood, Etienne Bezout, the distinguished mathematician.

If the truth must be told, Etienne Bezout’s fame is hardly world-wide; but since, in the matter of celebrities, one takes what one can get, for many long years the townspeople have been glad to have this old worthy--with his eighteenth-century wig, and his finger pointing heavenward in an attitude of wisdom and abstraction--preside over their weekly markets and the meetings of their fire-company, as well as at their outpourings from mass, from funerals, weddings, and christenings.

Beyond the market-place there is yet a third bridge, the great bridge overlooking the river Loing. A few steps farther, and you are amused by the droll sight of the washerwomen as they beat out their linen, gossiping and shrieking on the bank, like so many frogs at the edge of a marsh. Over there is the old pond, where the cows linger, and farther still stands the feudal castle, with its square tower. Beyond this we look down on the garden of M. le Curé, the tanneries, the convent, the town mill, and, last of all, on the river, which, though choked with weeds, is charmingly picturesque by reason of its tiny islands, its bubbling waterfalls, and its Normandy poplars. Just across the bridge lie the suburbs of the little town, with its working-men’s houses, quaint roofs, and farm-yards; and then again the open country and the green fields.

But to see Nemours as it should be seen, to catch the peculiar charm of this little corner of the provinces which Balzac has made famous in his “Ursule Mirouet,” we must retrace our steps. We must wander through certain fascinating old streets, with rough cobblestones and irregular sidewalks; the Rue du Prieuré, for instance, where the booths of the sabot-makers stand side by side with the tiny shops of the chair-caners; the Rue de l’Hospice, where old women in caps sit in their doorways knitting, and where the little orphan children march, two by two, under the guidance of the sisters of charity. We must glance at the gabled houses in the Place au Blé and the Place St.-Jean, or follow the Quai des Fosses, with its rows of flower-beds, where the trees make green arches along the edge of the river. Now we will steal into the courtyard of the old castle, which during the crusades was the fortress of the “great and mighty lords” of that part of the country, afterward the dwelling-place of the dukes of Nemours. Later, it was the bailiff’s court down to the time of the Revolution; since when it has gradually been transformed into a theater and dancing-hall, where nowadays traveling companies of actors stop to play “The Two Orphans” or “A Woman’s Punishment.” To-day the castle has a museum, for, just as any self-respecting town must have a “great man,” it must also have a museum, whether there is anything to put in it or not. Hence, it was an important day when the mayor of Nemours, adorned with his tricolored scarf, surrounded by the town councilors, and preceded by a flourish of trumpets, instituted this indispensable glory.

As we said before, the little town of Nemours has not been the scene of any startling event, but, like most of our provincial towns, it belongs to our past and is a part of our history. Its old walls have looked on some imposing ceremonies and have witnessed the arrival and departure of some celebrated personages. Did not Louis XIV himself condescend to enter Nemours in November, 1696? Later, in 1773, did not the Comtesse d’Artois choose it as a meeting-place with her sister, the Comtesse de Provence? One can imagine the militia of Nemours forming in line in the streets, the windows ablaze with lights, the thundering of cannon, the waving of flags, the sheriffs in their uniforms of state, and the townspeople, on bended knees, offering to these great personages their homage and the freedom of the city.

Indeed, this meeting between the sisters must still stand as the most memorable incident in the annals or Nemours, for although in our day politics play a more important part than formerly, we must yet admit that official ceremonies have lost much of their old-time grandeur.

If we wish to understand the charm of the tranquil life of the provinces, we must visit some of the townspeople of Nemours, and see them at their daily tasks in the privacy of their own homes. In common with the most important world capitals, this tiny town has its own manner of living, its own customs and traditions. We should follow yonder stout gentleman as, umbrella in hand, he takes his daily walk with deliberate steps along the quay; we should say “Good afternoon” to M. le Curé, whose cassock we see among the trees of his quiet garden; we should also have a chat with the shoemaker at the corner; and, above all, we should not fail to have our beard trimmed by the barber in the Rue Neuve. He is such a kindly fellow, this barber.

Just beyond the barber’s shop is the hatter’s, and he too seems well content with his lot. Not that his shop is spacious or his customers abundant. One wonders how many hats he sells in a week, for, in the memory of man, no one has ever seen two customers at the same time in his shop. Nevertheless, whenever you go into the Chappellerie des Elégants, you are certain to find M. Baudoin at his post behind the counter, alert and smiling, eager to show you all the novelties of the season. Above all things, do not venture to hint that his hats are not the very latest creations as to shape and style, as you would only surprise him, and inflict pain without standing a chance of convincing him. M. Baudoin is confident that he can compete with the most fashionable hatters in Paris, for has he not the best hats that are made? Besides, can Paris compare with Nemours? You would never make him believe it. He is proud of his native town, and despite his varied experience with men and things, he has never seen a finer city. This is the true provincial spirit.

M. Baudoin is no longer young. A few years more, and he will sell out his business, and with the proceeds of that sale, combined with his savings (for, like all good Frenchmen, he has been thrifty), will be able to end his peaceful life in ease and comfort. A little house in the suburbs, very new and very white; a tiny garden, with three or four fruit-trees, flower-beds with trim borders, and the inevitable fountain--this is M. Baudoin’s dream of an ideal old age.

This is, likewise, the dream of M. Robichon, the clock-maker; of M. Troufleau, the tailor; and of M. Camus, the grain-merchant, all of whom have spent their lives quietly in their little shops, selling from time to time a hat, a watch, or a bag of grain. For the most part, they have been happy. Their sons will have a modest inheritance, and will carry on the trade of their fathers, unless one, fired with unusual ambition, should some day become a country doctor or lawyer’s clerk.

“THE LITTLE ORPHAN CHILDREN MARCH TWO BY TWO”

DRAWN BY BERNARD B. DE MONVEL]

Such are the people, born in the little town or its immediate vicinity. In addition to this native population, there is a colony of residents who have come from Paris or elsewhere and, attracted by the charm of the place, have bought country houses in the neighborhood.

Although only two hours’ distance by rail from Paris, Nemours is a typical corner of the provinces, where members of the lower middle class, and even persons of independent means, come in search of rest and quiet; merchants who have retired from business, army officers on half-pay, professors grown gray in service, and, oddly enough, a large number of artists, painters, sculptors, and actors. Some come for the summer only; others live in or near Nemours all the year round.

It is not every French provincial town that can rival Nemours in one respect: beside one of the new and dreadful houses its owner has seen fit to erect a kind of ruin, an imitation in miniature of an old fortified castle, with simulated remains of battlements, sham doors of the middle ages, barred windows, etc. He has even taken the trouble to have a real bullet embedded in the wall of his precious ruin--a bullet fired, it is said, by the Prussians during their campaign in France! Above the bullet, the date of the memorable event is placed in large letters--1814! The bullet looks not unlike a tennis-ball; the ruin itself seems to be made of papier-mâché; and, with the new house by the side of the sham ruin, the _tout ensemble_ of this delightful little property is a triumph of the grotesque. It is certain that it is not this new and expensive quarter which lends to Nemours its strange charm, any more than in other French towns, or in Paris itself, where the modern attempts at architecture are veritable eyesores.

After all, each man enjoys life in his own way; and so M. Chevillard, a retired lawyer, who does not own any ruins, and who, strange to say, does not desire any, has a passion of an entirely different kind. M. Chevillard’s passion is fishing. He has chosen Nemours as his abiding-place simply because its three watercourses abound in pike and roach; but that fact does not imply that M. Chevillard catches many of them. Nevertheless, every day we may see him seated placidly on his camp-stool, on the bank of the river, near the bridge, wearing an enormous straw hat, which the suns of many summers have tanned a rich golden-brown, the shade of well-toasted bread. He holds a fishing-rod in his hand; the line falls into the water, and its tiny red cork moves gently to and fro with the current. When this red cork drifts toward the dark shadows under the bridge, M. Chevillard jerks his rod up quickly, and we hear the line whistle in the air; then, in the twinkling of an eye, the cork falls back on the surface of the water, and the game begins again; and so it goes on all day and every day.

The strange thing is, however, that nearly every one in Nemours has this same passion for fishing. All along the river, the canal, and the smaller stream, we see rows of yellow hats, and, under them, any number of kindly men and women of all ages, who sit calmly from morning till night, watching their lines.

In addition to this large body of fishermen, there are sportsmen; but do not imagine that they are any more successful. Formerly, this part of the country abounded in game; but of late years, owing to the increasing number of these sportsmen, the pheasants have rapidly diminished. As the cost of a hunting license in France is moderate, the humblest grocer may have the privilege of stringing a cartridge-case across his chest, and, attired in brown linen, with his grandfather’s old gun on his shoulder, may revel in the joys of the chase. It is not the humble grocer alone, however, who is responsible for the terrible slaughter of birds. All the other grocers, his friends and neighbors, would feel themselves disgraced if they did not follow his example; so, along with the grocers come the ironmongers, the harness-makers, and the innkeepers, in such overwhelming numbers that within a week after the opening of the shooting season not a hair or a feather is left to tell the tale.

Greatly disturbed by this state of affairs, the sportsmen of Nemours decided to found a society for the protection of game. Alas! within a few months serious differences arose in the society, which was promptly divided into two rival factions. Each faction had its own territory; and from that moment bird-shooting was forgotten by both parties in their eagerness to chase each other. The chief idea of each faction was to guard jealously its own territory; and fierce injunctions were sent to those imprudent sportsmen who ventured to trespass on forbidden ground. As the respective shooting territories grow smaller each year, and the two societies show no signs of being reconciled, there is grave reason to fear that some fine day, not knowing how else to utilize their powder and shot, the sportsmen of Nemours may be forced to fire at one another!

For my own part, I do not imagine that these gentlemen have as yet any idea of resorting to such extreme measures; but, peaceful and serene as the little town is, it has its own private quarrels. Just as there are two sportsmen’s societies, so there are two clubs--two rival clubs, known, quite properly, as the Union Club and the Peace Club, where every evening, before dinner, the half-pay captains and the retired merchants come to play whist at a penny a point. The members are kindly men, honest and peaceful; but there is not one of them who is not firmly convinced that any other club but his own is the resort of ill-bred fellows, not fit associates for himself or his friends. There is an abundance of gossip in this little town, and gossip travels fast at card-tables as well as tea-tables. However, only a certain set among the residents care to lend an ear to the local small-talk.

During the summer, many artists come in quest of rest or an industrious solitude. They are the ones who really enjoy and appreciate more than any one else the strange, sweet charm of this little provincial town, where every house has its garden, and every garden its flowers; where the peaceful days go by with a slow and regular rhythm, and the silence is broken only by the sound of the angelus or the ring of the blacksmith’s anvil.

The one noisy time in the week is market-day, when the throngs of covered wagons, drawn by strong cart-horses, the peasant women in their white caps and the men in their blue blouses bringing in cattle, poultry, fruit, and vegetables, make a lively and attractive scene; when the air is full of the crack of whips and the tinkle of bells, and gay with songs, cries, and laughter. But it may not be long before the country carts will give way to automobiles, the white caps to beflowered hats, and the blouses to jackets of the latest cut.

THE AUTO-COMRADE

BY ROBERT HAVEN SCHAUFFLER

Author of “Romantic Germany,” “Romantic America,” etc.

Human nature abhors a vacuum, especially a vacuum inside itself. Offer the ordinary man a week’s vacation all alone, and he will look as though you were offering him a cell in Sing Sing.

“There are a great many people,” says that wise and popular oracle, Ruth Cameron, “to whom there is no prospect more terrifying than that of a few hours with only their own selves for company. To escape that terrible catastrophe, they will make friends with the most fearful bore or read the most stupid story.... If such people are marooned a few hours, not only without human companionship, but even without a book or magazine with which to screen their own stupidity from themselves, they are fairly frantic.”

If any one hates to be alone with himself, the chances are that he has not much of any self to be alone with. He is in as desolate a condition as a certain Mr. Pease of Oberlin, who, having lost his wife and children, set up his own tombstone and chiseled upon it this epitaph:

“Here lies the pod.
The Pease are shelled and gone to God.”

Now, pod-like people are always solitary wherever other people are not; and there is, of course, nothing much more distressing than solitariness. These people, however, through sheer ignorance, fall into a confusion of thought. They suppose that solitude and solitariness are the same thing. To the artist in life there is just one difference between these two: it is the difference between heaven and its antipodes. For, to the artist in life, solitude is solitariness plus the Auto-comrade.

As it is the Auto-comrade who makes all the difference, I shall try to describe his appearance. His eyes are the most arresting part of him. They never peer stupidly through great, thick spectacles of others’ making. They are scarcely ever closed in sleep, and sometimes make their happiest discoveries during the small hours. Indeed, these hours are probably called small because the Auto-comrade often turns his eyes into the lenses of a moving-picture machine that is so entertaining that it compresses the hours to seconds. These eyes, through constant, alert use, have become sharp. They can pierce through the rinds of the toughest personalities, and even penetrate on occasion into the future. They can also take in whole panoramas of the past in one sweeping look. For they are of that “inner” variety through which Wordsworth, winter after winter, used to survey his daffodil-fields. “The bliss of solitude,” he called them.

The Auto-comrade has an adjustable brow. It can be raised high enough to hold and reverberate and add rich overtones to the grandest chords of thought ever struck by a Plato, a Buddha, or a Kant. The next instant it may easily be lowered to the point where Hy Mayer’s latest cartoon or the tiny cachinnation of a machine-made Chesterton paradox will not ring entirely hollow. As for his voice, it can at times be more musical than Melba’s or Caruso’s. Without being raised above a whisper, it can girdle the globe. It can barely breathe some delicious new melody; yet the thing will float forth not only undiminished, but gathering beauty, significance, and incisiveness in every land it passes through.

The Auto-comrade is an erect, wiry young figure of an athlete. As he trades at the Seven-League Boot and Shoe Concern, it never bothers him to accompany you on the longest tramps. His feet simply cannot be tired out. As for his hands, they are always alert to give you a lift up the rough places on the mountain-side. He has remarkable presence of body. In any emergency he is usually the best man on the spot.

A popular saw asserts that “looks do not count.” But in this case they do count. For the Auto-comrade looks exactly like himself. He is at once seer, creator, accomplisher, and present help in time of trouble. But his every-day occupation is that of entertainer. He is the joy-bringer--the Prometheus of pleasure. In his vicinity there is no such thing as ennui or lonesomeness. Emerson wrote:

“When I would spend a lonely day
Sun and moon are in my way.”

But for pals of the Auto-comrade, not only sun, moon, etc., are in the way, but all of his own unlimited resources. For every time and season he has a fittingly varied repertory of entertainment.

Now and again he startles you with the legerdemain feat of snatching brand-new ideas out of the blue, like rabbits out of a hat. While you stand at the port-hole of your cabin and watch the rollers rushing back to the beloved home-land you are quitting, he marshals your friends and acquaintances into a long line for a word of greeting or a rapid-fire chat, just as though you were some idol of the people, and were steaming past the Statue of Liberty on your way home from lion-slaughter in Africa, and the Auto-comrade were the factotum at your elbow who asks, “What name, please?”

After the friends and acquaintances, he even brings up your _bêtes noires_ and dearest enemies for inspection and comment. Strangely enough, viewed in this way, these persons no longer seem so contemptible or pernicious or devilish as they once did. At this point your factotum rubs your eye-glasses bright with the handkerchief he always carries about for slate-cleaning purposes, and, lo! you even begin to discover hitherto unsuspected good points about the chaps.

Then there are always your million and one favorite melodies which nobody but that all-around musical amateur, the Auto-comrade, can so exquisitely whistle, hum, strum, fiddle, blat, or roar. There is also a universeful of new ones for him to improvise. And he is the jolliest sort of fellow-musician, because, when you play or sing a duet with him, you can combine with the exciting give-and-take and reciprocal stimulation of the duet the godlike autocracy of the solo, with its opportunity for uninterrupted, uncoerced, wide self-expression. Sometimes, however, in the first flush of escape with him to the wilds, you are fain to clap your hand over his mouth in order the better to taste the essentially folkless savor of solitude. For music is a curiously social art, and Browning was right when he said, “Who hears music, feels his solitude peopled at once.”

Perhaps you can find your entertainer a small lump of clay or modeling-wax to thumb into bad caricatures of those you love and good ones of those you hate, until increasing facility impels him to try and model not a Tanagra figurine, for that would be unlike his original fancy, but a Hoboken figurine, say, or a sketch for some Elgin (Illinois) marbles.

If you care anything for poetry and can find him a stub of pencil and an unoccupied cuff, he will be most completely in his element; for if there is any one occupation more closely identified with him than another, it is that of poet. And though all Auto-comrades are not poets, all poets are Auto-comrades. Every poem which has ever thrilled this world or another has been written by the Auto-comrade of some so-called poet. This is one reason why the so-called poets think so much of their great companions. “Allons! after the great companions!” cried old Walt to his fellow-poets. If he had not overtaken, and held fast to, his, we should never have heard the “Leaves of Grass” whispering “one or two indicative words for the future.” The bards have always obeyed this call. And they have known how to value their Auto-comrades, too. See, for example, what Keats thought of his:

Though the most beautiful Creature were waiting for me at the
end of a Journey or a Walk; though the Carpet were of Silk, the
Curtains of the morning Clouds; the chairs and Sofa stuffed with
Cygnet’s down; the food Manna, the Wine beyond Claret, the Window
opening on Winander mere, I should not feel--or rather my Happiness
would not be so fine, as my Solitude is sublime. Then instead of
what I have described, there is a sublimity to welcome me home--The
roaring of the wind is my wife and the Stars through the window
pane are my Children.... I feel more and more every day, as my
imagination strengthens, that I do not live in this world alone
but in a thousand worlds--No sooner am I alone than shapes of epic
greatness are stationed around me, and serve my Spirit the office
which is equivalent to a King’s body-guard.... I live more out of
England than in it. The Mountains of Tartary are a favorite lounge,
if I happen to miss the Alleghany ridge, or have no whim for Savoy.

This last sentence not only reveals the fact that the Auto-comrade, equipped as he is with a wishing-mat, is the very best cicerone in the world, but also that he is the ideal tramping companion. Suppose you are mountain-climbing. As you start up into “nature’s observatory,” he kneels in the dust and fastens wings upon your feet. He conveniently adjusts a microscope to your hat-brim, and hangs about your neck an excellent telescope. He has enough sense, as well, to keep his mouth shut. For, like Hazlitt, he “can see no wit in walking and talking.” The joy of existence, you find, rarely tastes more cool and sweet and sparkling than when you and your Auto-comrade make a picnic thus, swinging in a basket between you a real, live thought for lunch. On such an occasion you come to believe that Keats, on another occasion, must have had his Auto-comrade in mind when he remarked to his friend Solitude that

“... it sure must be
Almost the highest bliss of human-kind,
When to thy haunts two kindred spirits flee.”

The Auto-comrade can sit down with you in thick weather on a barren lighthouse rock and give you a breathless day by hanging upon the walls of fog the mellow screeds of old philosophies, and causing to march and countermarch over against them the scarlet and purple pageants of history. Hour by hour, too, he will linger with you in the metropolis, that breeder of the densest solitudes,--in market or morgue, subway, library, or lobby,--and hour by hour unlock you those chained books of the soul to which the human countenance offers the master key.

Something of a sportsman, too, is the Auto-comrade. He it is who makes the fabulously low score at golf--the kind of score, by the way, that is almost invariably born to blush unseen. And he will uncomplainingly, even zestfully, fish from dawn to dusk in a solitude so complete that there is not even a fin to break it. But if there are fish, he finds them. He knows how to make the flies float indefinitely forward through yonder narrow opening, and drop, as light as thistledown, in the center of the temptingly inaccessible pool. He knows without looking exactly how thick and prehensile are the bushes and branches that lie in wait for the back cast, and he can calculate to a grain how much urging the sulky four-pounder and the blest tie that binds him to the four-ounce rod will stand.

He is one of the handiest possible persons to have along in the woods. When you take him on a canoe-trip with others, and the party comes to “white water,” he turns out to be a dead shot at rapid-shooting. He is sure to know what to do at the supreme moment when you jam your setting-pole immutably between two rocks and, with the alternative of making a hole in the water, are forced to let it go and grab your paddle. And before you have time to reflect that the pale-face in the bow can be depended upon to do just one thing at such a time, and that is the exact opposite of what you are urging him to do, you are hung up on a slightly submerged rock at the head of the chief rapid just in time to see the rest of the party disappear around the lower bend. At such a time, simply look to the Auto-comrade. He will carry you through. Also there is no one like him at the moment when, having felled your moose, leaned your rifle against a tree, and bent down the better to examine him, the creature suddenly comes back to life.

In tennis, when you wake up to find that your racket has just smashed a lob on the bounce from behind the court, making a clean ace between your paralyzed opponents, you ought to know that the racket was guided by that superior sportsman; and if you are truly modest, you will admit that the miraculous triple play wherewith your team whisked the base-ball championship out of the fire in the fourteenth inning was pulled off by the unaided efforts of a certain Young Men’s Christian Association of Auto-comrades.

There are other games about which he is not so keen: solitaire, for instance. For solitaire is a social game that soon loses its zest if there be not some devoted friend or relative sitting by and simulating that pleasurable absorption in the performance which you yourself only wish that you could feel.

This great companion can keep you from being lonely even in a crowd. But there is a certain kind of crowd that he cannot abide. Beware how you try to keep him in a crowd of unadulterated human porcupines! You know how the philosopher Schopenhauer once likened average humanity to a herd of porcupines on a cold day, who crowd stupidly together for warmth, prick one another with their quills, are mutually repelled, forget the incident, grow cold again, and repeat the whole thing ad infinitum.