Portending evil; and an awful spook,
Even as I stood with my accomplices,
Counted me out, as children do in play.
Is that you, Mike?
DE YOUNG (waking):
It was.
SWIFT (waking):
Am I all that?
Then I'll reform my ways.
(Reforms his ways.)
Ah! had I known
How sweet it is to be an honest man
I never would have stooped to turn my coat
For public favor, as chameleons take
The hue (as near as they can judge) of that
Supporting them. Henceforth I'll buy
With money all the offices I need,
And know the pleasure of an honest life,
Or stay forever in this dismal place.
Now that I'm good, it will no longer do
To make a third with such, a wicked two.
(Returns to his tomb.)
DE YOUNG:
Prophetic dream! by some good angel sent
To make me with a quiet life content.
The question shall no more my bosom irk,
To go to Washington or go to work.
From Fame's debasing struggle I'll withdraw,
And taking up the pen lay down the law.
I'll leave this rogue, lest my example make
An honest man of him—his heart would break.
(Exit De Young.)
ESTEE:
Out of my company these converts flee,
But that advantage is denied to me:
My curst identity's confining skin
Nor lets me out nor tolerates me in.
Well, since my hopes eternally have fled,
And, dead before, I'm more than ever dead,
To find a grander tomb be now my task,
And pack my pork into a stolen cask.
(Exit, searching. Loud calls for the Author, who appears,
bowing and smiling.)
AUTHOR (singing):
Jack Satan's the greatest of gods,
And Hell is the best of abodes.
'Tis reached, through the Valley of Clods,
By seventy different roads.
Hurrah for the Seventy Roads!
Hurrah for the clods that resound
With a hollow, thundering sound!
Hurrah for the Best of Abodes!
We'll serve him as long as we've breath—
Jack Satan the greatest of gods.
To all of his enemies, death!—
A home in the Valley of Clods.
Hurrah for the thunder of clods
That smother the soul of his foe!
Hurrah for the spirits that go
To dwell with the Greatest of Gods;
(Curtain falls to faint odor of mortality. Exit the Gas.)
THE BIRTH OF THE RAIL
DRAMATIS PERSONÆ
LELAND, THE KID a Road Agent
COWBOY CHARLEY Same Line of Business
HAPPY HUNTY Ditto in All Respects
SOOTYMUG a Devil
Scene—the Dutch Flat Stage Road, at 12 P.M., on a Night of 1864.
COWBOY CHARLEY:
My boss, I fear she is delayed to-night.
Already it is past the hour, and yet
My ears have reached no sound of wheels; no note
Melodious, of long, luxurious oaths
Betokens the traditional dispute
(Unsettled from the dawn of time) between
The driver and off wheeler; no clear chant
Nor carol of Wells Fargo's messenger
Unbosoming his soul upon the air—
his prowess to the tender-foot,
And how at divers times in sundry ways
He strewed the roadside with our carcasses.
Clearly, the stage will not come by to-night.
LELAND, THE KID:
I now remember that but yesterday
I saw three ugly looking fellows start
From Colfax with a gun apiece, and they
Did seem on business of importance bent.
Furtively casting all their eyes about
And covering their tracks with all the care
That business men do use. I think perhaps
They were Directors of that rival line,
The great Pacific Mail. If so, they have
Indubitably taken in that coach,
And we are overreached. Three times before
This thing has happened, and if once again
These outside operators dare to cut
Our rates of profit I shall quit the road
And take my money out of this concern.
When robbery no longer pays expense
It loses then its chiefest charm for me,
And I prefer to cheat—you hear me shout!
HAPPY HUNTY:
My chief, you do but echo back my thoughts:
This competition is the death of trade.
'Tis plain (unless we wish to go to work)
Some other business we must early find.
What shall it be? The field of usefulness
Is yearly narrowing with the advance
Of wealth and population on this coast.
There's little left that any man can do
Without some other fellow stepping in
And doing it as well. If one essay
To pick a pocket he is sure to feel
(With what disgust I need not say to you)
Another hand inserted in the same.
You crack a crib at dead of night, and lo!
As you explore the dining-room for plate
You find, in session there, a graceless band
Stuffing their coats with spoons, their skins with wine.
And so it goes. Why even undertake
To salt a mine and you will find it rich
With noble specimens placed there before!
LELAND, THE KID:
And yet this line of immigration has
Advantages superior to aught
That elsewhere offers: all these passengers,
If punched with care—
COWBOY CHARLEY:
Significant remark!
It opens up a prospect wide and fair,
Suggesting to the thoughtful mind—my mind—
A scheme that is the boss lay-out. Instead
Of stopping passengers, let's carry them.
Instead of crying out: "Throw up your hands!"
Let's say: "Walk up and buy a ticket!" Why
Should we unwieldy goods and bullion take,
Watches and all such trifles, when we might
Far better charge their value three times o'er
For carrying them to market?
LELAND, THE KID:
Put it there,
Old son!
HAPPY HUNTY:
You take the cake, my dear. We'll build
A mighty railroad through this pass, and then
The stage folk will come up to us and squeal,
And say: "It is bad medicine for both:
What will you give or take?" And then we'll sell.
COWBOY CHARLEY:
Enlarge your notions, little one; this is
No petty, slouching, opposition scheme,
To be bought off like honest men and fools;
Mine eye prophetic pierces through the mists
That cloud the future, and I seem to see
A well-devised and executed scheme
Of wholesale robbery within the law
(Made by ourselves)—great, permanent, sublime,
And strong to grapple with the public throat—
Shaking the stuffing from the public purse,
The tears from bankrupt merchants' eyes, the blood
From widows' famished carcasses, the bread
From orphans' mouths!
HAPPY HUNTY:
Hooray!
LELAND, THE; KID:
Hooray!
Hooray!
(They tear the masks from their faces, and discharging their shotguns, throw them into the chapparal. Then they join hands, dance and sing the following song:)
Ah! blessèd to measure
The glittering treasure!
Ah! blessèd to heap up the gold
Untold
That flows in a wide
And deepening tide—
Rolled, rolled, rolled
From multifold sources,
Converging its courses
Upon our—
LELAND, THE KID:
Just wait a bit, my pards, I thought I heard
A sneaking grizzly cracking the dry twigs.
Such an intrusion might deprive the State
Of all the good that we intend it. Ha!
(Enter Sootymug. He saunters carelessly in and gracefully leans his back against a redwood.)
SOOTYMUG:
My boys, I thought I heard
Some careless revelry,
As if your minds were stirred
By some new devilry.
I too am in that line. Indeed, the mission
On which I come—
HAPPY HUNTY:
Here's more damned competition! (Curtain.)
A BAD NIGHT
DRAMATIS PERSONÆ.
VILLIAM a Sen
NEEDLESON a Sidniduc
SMILER a Scheister
KI-YI a Trader
GRIMGHAST a Spader
SARALTHIA a Love-lorn Nymph
NELLIBRAC a Sweetun
A BODY; A GHOST; AN UNMENTIONABLE THING; SKULLS; HOODOOS; ETC.
Scene—a Cemetery in San Francisco.
Saralthia, Nellibrac, Grimghast.
SARALTHIA:
The red half-moon is dipping to the west,
And the cold fog invades the sleeping land.
Lo! how the grinning skulls in the level light
Litter the place! Methinks that every skull
Is a most lifelike portrait of my Sen,
Drawn by the hand of Death; each fleshless pate,
Cursed with a ghastly grin to eyes unrubbed
With love's magnetic ointment, seems to mine
To smile an amiable smile like his
Whose amiable smile I—I alone
Am able to distinguish from his leer!
See how the gathering coyotes flit
Through the lit spaces, or with burning eyes
Star the black shadows with a steadfast gaze!
About my feet the poddy toads at play,
Bulbously comfortable, try to hop,
And tumble clumsily with all their warts;
While pranking lizards, sliding up and down
My limbs, as they were public roads, impart
A singularly interesting chill.
The circumstance and passion of the time,
The cast and manner of the place—the spirit
Of this confederate environment,
Command the rights we come to celebrate
Obedient to the Inspired Hag—
The seventh daughter of the seventh daughter,
Who rules all destinies from Minna street,
A dollar a destiny. Here at this grave,
Which for my purposes thou, Jack of Spades—
(To Grimghast)
Corrupter than the thing that reeks below—
Hast opened secretly, we'll work the charm.
Now what's the hour?
(Distant clock strikes thirteen.)
Enough—hale forth the stiff!
(Grimghast by means of a boat-hook stands the coffin on end in the excavation; the lid crumbles, exposing the remains of a man.)
Ha! Master Mouldybones, how fare you, sir?
THE BODY:
Poorly, I thank your ladyship; I miss
Some certain fingers and an ear or two.
There's something, too, gone wrong with my inside,
And my periphery's not what it was.
How can we serve each other, you and I?
NELLIBRAC:
O what a personable man!
(Blushes bashfully, drops her eyes and twists the corner of her apron.)
SARALTHIA:
Yes, dear,
A very proper and alluring male,
And quite superior to Lubin Rroyd,
Who has, however, this distinct advantage—
He is alive.
GRIMGHAST:
Missus, these yer remains
Was the boss singer back in '72,
And used to allers git invites to go
Down to Swellmont and sing at every feed.
In t'other Villiam's time, that was, afore
The gent that you've hooked onto bought the place.
THE BODY (singing):
Down among the sainted dead
Many years I lay;
Beetles occupied my head,
Moles explored my clay.
There we feasted day and night—
I and bug and beast;
They provided appetite
And I supplied the feast.
The raven is a dicky-bird,
SARALTHIA (singing):
The jackal is a daisy,
NELLIBRAC (singing):
The wall-mouse is a worthy third,
A SPOOK (singing):
But mortals all are crazy.
CHORUS OF SKULLS:
O mortals all are crazy,
Their intellects are hazy;
In the growing moon they shake their shoon
And trip it in the mazy.
But when the moon is waning,
Their senses they're regaining:
They fall to prayer and from their hair
Remove the straws remaining.
SARALTHIA:
That's right, Rogues Gallery, pray keep it up:
Your song recalls my Villiam's "Auld Lang Syne,"
What time he came and (like an amorous bird
That struts before the female of its kind,
Warbling to cave her down the bank) piped high
His cracked falsetto out of reach. Enough—
Now let's to business. Nellibrac, sweet child,
St. Cloacina's future devotee,
The time is ripe and rotten—gut the grip!
(Nellibrac brings forward a valise and takes from it five articles of clothing, which, one by one, she lays upon the points of a magic pentagram that has thoughtfully inscribed itself in lines of light on the wet grass. The Body holds its late lamented nose.)
NELLIBRAC (singing):
Fragrant socks, by Villiam's toes
Consecrated to the nose;
Shirt that shows the well worn track
Of the knuckles of his back,
Handkerchief with mottled stains,
Into which he blew his brains;
Collar crying out for soap—
Prophet of the future rope;
An unmentionable thing
It would sicken me to sing.
UNMENTIONABLE THING (aside):
What! I unmentionable? Just you wait!
In all the family journals of the State
You'll sometime see that I'm described at length,
With supereditorial grace and strength.
SARALTHIA (singing):
Throw them in the open tomb
They will cause his love to bloom
With an amatory boom!
CHORUS OF INVISIBLE HOODOOS:
Hoodoo, hoodoo, voudou-vet
Villiam struggles in the net!
By the power and intent
Of the charm his strength is spent!
By the virtue in each rag
Blessed by the Inspired Hag
He will be a willing victim
Limp as if a donkey kicked him!
By this awful incantation
We decree his animation—
By the magic of our art
Warm the cockles of his heart,
Thou Saralthia shalt wed!
(They cast the garments into the grave and push over the coffin. Grimghast fills up the hole. Hoodoos gradually become apparent in a phosphorescent light about the grave, holding one another's back-hair and dancing in a circle.)
HOODOO SONG AND DANCE:
O we're the larrikin hoodoos!
The chirruping, lirruping hoodoos!
We mix things up that the Fates ordain,
Bring back the past and the present detain,
Postpone the future and sometimes tether
The three and drive them abreast together—
We rollicking, frolicking hoodoos!
To us all things are the same as none
And nothing is that is under the sun.
Seven's a dozen and never is then,
Whether is what and what is when,
A man is a tree and a cuckoo a cow
For gold galore and silver enow
To magical, mystical hoodoos!
SARALTHIA:
What monstrous shadow darkens all the place,
(Enter Smyler.)
Flung like a doom athwart—ha!—thou?
Portentous presence, art thou not the same
That stalks with aspect horrible among
Small youths and maidens, baring snaggy teeth,
Champing their tender limbs till crimson spume,
Flung from, thy lips in cursing God and man,
Incarnadines the land?
SMYLER:
Thou dammid slut!
(Exit Smyler.)
NELLIBRAC:
O what a pretty man!
SARALTHIA
Now who is next?
Of tramps and casuals this graveyard seems
Prolific to a fault!
(Enter Needleson, exhaling, prophetically, an odor of decayed eggs and, actually, one of unlaundried linen. He darts an intense regard at an adjacent marble angel and places his open hand behind his ear.)
NEEDLESON:
Hay? (Exit Needleson.)
NELLIBRAC:
Sweet, sweet male!
I yearn to play at Copenhagen with him!
Black Beetles in Amber Page 18
