The American Claimant

Chapter XVI

Brady arrived with a box, and departed, after saying, "They're finishing one up, but they'll be along as soon as it's done."

Barrow took a frameless oil portrait a foot square from the box, set it up in a good light, without comment, and reached for another, taking a furtive glance at Tracy, meantime. The stony solemnity in Tracy's face remained as it was, and gave out no sign of interest. Barrow placed the second portrait beside the first, and stole another glance while reaching for a third. The stone image softened, a shade. No. 3 forced the ghost of a smile, No. 4 swept indifference wholly away, and No. 5 started a laugh which was still in good and hearty condition when No. 14 took its place in the row.

"Oh, you're all right, yet," said Barrow. "You see you're not past amusement."

The pictures were fearful, as to color, and atrocious as to drawing and expression; but the feature which squelched animosity and made them funny was a feature which could not achieve its full force in a single picture, but required the wonder-working assistance of repetition. One loudly dressed mechanic in stately attitude, with his hand on a cannon, ashore, and a ship riding at anchor in the offing, – this is merely odd; but when one sees the same cannon and the same ship in fourteen pictures in a row, and a different mechanic standing watch in each, the thing gets to be funny.

"Explain – explain these aberrations," said Tracy.

"Well, they are not the achievement of a single intellect, a single talent – it takes two to do these miracles. They are collaborations; the one artist does the figure, the other the accessories. The figure-artist is a German shoemaker with an untaught passion for art, the other is a simple hearted old Yankee sailor-man whose possibilities are strictly limited to his ship, his cannon and his patch of petrified sea. They work these things up from twenty-five-cent tintypes; they get six dollars apiece for them, and they can grind out a couple a day when they strike what they call a boost – that is, an inspiration."

"People actually pay money for these calumnies?"

"They actually do – and quite willingly, too. And these abortionists could double their trade and work the women in, if Capt. Saltmarsh could whirl a horse in, or a piano, or a guitar, in place of his cannon. The fact is, he fatigues the market with that cannon. Even the male market, I mean. These fourteen in the procession are not all satisfied. One is an old 'independent' fireman, and he wants an engine in place of the cannon; another is a mate of a tug, and wants a tug in place of the ship – and so on, and so on. But the captain can't make a tug that is deceptive, and a fire engine is many flights beyond his power."

"This is a most extraordinary form of robbery, I never have heard of anything like it. It's interesting."

"Yes, and so are the artists. They are perfectly honest men, and sincere. And the old sailor-man is full of sound religion, and is as devoted a student of the Bible and misquoter of it as you can find anywhere. I don't know a better man or kinder hearted old soul than Saltmarsh, although he does swear a little, sometimes."

"He seems to be perfect. I want to know him, Barrow."

"You'll have the chance. I guess I hear them coming, now. We'll draw them out on their art, if you like."

The artists arrived and shook hands with great heartiness. The German was forty and a little fleshy, with a shiny bald head and a kindly face and deferential manner. Capt. Saltmarsh was sixty, tall, erect, powerfully built, with coal-black hair and whiskers, and he had a well tanned complexion, and a gait and countenance that were full of command, confidence and decision. His horny hands and wrists were covered with tattoo-marks, and when his lips parted, his teeth showed up white and blemishless. His voice was the effortless deep bass of a church organ, and would disturb the tranquility of a gas flame fifty yards away.

"They're wonderful pictures," said Barrow. "We've been examining them."

"It is very bleasant dot you like dem," said Handel, the German, greatly pleased. "Und you, Herr Tracy, you haf peen bleased mit dem too, alretty?"

"I can honestly say I have never seen anything just like them before."

"Schon!" cried the German, delighted. "You hear, Gaptain? Here is a chentleman, yes, vot abbreviate unser aart."

The captain was charmed, and said:

"Well, sir, we're thankful for a compliment yet, though they're not as scarce now as they used to be before we made a reputation."

"Getting the reputation is the up-hill time in most things, captain."

"It's so. It ain't enough to know how to reef a gasket, you got to make the mate know you know it. That's reputation. The good word, said at the right time, that's the word that makes us; and evil be to him that evil thinks, as Isaiah says."

"It's very relevant, and hits the point exactly," said Tracy.

"Where did you study art, Captain?"

"I haven't studied; it's a natural gift."

"He is born mit dose cannon in him. He tondt haf to do noding, his chenius do all de vork. Of he is asleep, and take a pencil in his hand, out come a cannon. Py crashus, of he could do a clavier, of he could do a guitar, of he could do a vashtub, it is a fortune, heiliger Yohanniss it is yoost a fortune!"

"Well, it is an immense pity that the business is hindered and limited in this unfortunate way."

The captain grew a trifle excited, himself, now:

"You've said it, Mr. Tracy! – Hindered? well, I should say so. Why, look here. This fellow here, No. 11, he's a hackman, – a flourishing hackman, I may say. He wants his hack in this picture. Wants it where the cannon is. I got around that difficulty, by telling him the cannon's our trademark, so to speak – proves that the picture's our work, and I was afraid if we left it out people wouldn't know for certain if it was a Saltmarsh – Handel – now you wouldn't yourself—"

"What, Captain? You wrong yourself, indeed you do. Anyone who has once seen a genuine Saltmarsh-Handel is safe from imposture forever. Strip it, flay it, skin it out of every detail but the bare color and expression, and that man will still recognize it – still stop to worship—"

"Oh, how it makes me feel to hear dose oxpressions!—"

– "still say to himself again as he had, said a hundred times before, the art of the Saltmarsh-Handel is an art apart, there is nothing in the heavens above or in the earth beneath that resembles it,—"

"Py chiminy, nur horen Sie einmal! In my life day haf I never heard so brecious worts."

"So I talked him out of the hack, Mr. Tracy, and he let up on that, and said put in a hearse, then – because he's chief mate of a hearse but don't own it – stands a watch for wages, you know. But I can't do a hearse any more than I can a hack; so here we are – becalmed, you see. And it's the same with women and such. They come and they want a little johnry picture—"

"It's the accessories that make it a 'genre?'"

"Yes – cannon, or cat, or any little thing like that, that you heave into whoop up the effect. We could do a prodigious trade with the women if we could foreground the things they like, but they don't give a damn for artillery. Mine's the lack," continued the captain with a sigh, "Andy's end of the business is all right I tell you he's an artist from way back!"

"Yoost hear dot old man! He always talk 'poud me like dot," purred the pleased German.

"Look at his work yourself! Fourteen portraits in a row. And no two of them alike."

"Now that you speak of it, it is true; I hadn't noticed it before. It is very remarkable. Unique, I suppose."

"I should say so. That's the very thing about Andy – he discriminates. Discrimination's the thief of time – forty-ninth Psalm; but that ain't any matter, it's the honest thing, and it pays in the end."

"Yes, he certainly is great in that feature, one is obliged to admit it; but – now mind, I'm not really criticising – don't you think he is just a trifle overstrong in technique?"

The captain's face was knocked expressionless by this remark. It remained quite vacant while he muttered to himself—"Technique– technique – polytechnique – pyro-technique; that's it, likely – fireworks too much color." Then he spoke up with serenity and confidence, and said:

"Well, yes, he does pile it on pretty loud; but they all like it, you know – fact is, it's the life of the business. Take that No. 9, there, Evans the butcher. He drops into the stoodio as sober-colored as anything you ever see: now look at him. You can't tell him from scarlet fever. Well, it pleases that butcher to death. I'm making a study of a sausage-wreath to hang on the cannon, and I don't really reckon I can do it right, but if I can, we can break the butcher."

"Unquestionably your confederate – I mean your – your fellow-craftsman– is a great colorist—"

"Oh, danke schon!—"

– "in fact a quite extraordinary colorist; a colorist, I make bold to say, without imitator here or abroad – and with a most bold and effective touch, a touch like a battering ram; and a manner so peculiar and romantic, and extraneous, and ad libitum, and heart-searching, that– that – he – he is an impressionist, I presume?"

"No," said the captain simply, "he is a Presbyterian."

"It accounts for it all – all – there's something divine about his art, – soulful, unsatisfactory, yearning, dim hearkening on the void horizon, vague – murmuring to the spirit out of ultra-marine distances and far-sounding cataclysms of uncreated space – oh, if he – if, he – has he ever tried distemper?"

The captain answered up with energy:

"Not if he knows himself! But his dog has, and—"

"Oh, no, it vas not my dog."

"Why, you said it was your dog."

"Oh, no, gaptain, I—"

"It was a white dog, wasn't it, with his tail docked, and one ear gone, and—"

"Dot's him, dot's him! – der fery dog. Wy, py Chorge, dot dog he would eat baint yoost de same like—"

"Well, never mind that, now—'vast heaving – I never saw such a man. You start him on that dog and he'll dispute a year. Blamed if I haven't seen him keep it up a level two hours and a half."

"Why captain!" said Barrow. "I guess that must be hearsay."

"No, sir, no hearsay about it – he disputed with me."

"I don't see how you stood it."

"Oh, you've got to – if you run with Andy. But it's the only fault he's got."

"Ain't you afraid of acquiring it?"

"Oh, no," said the captain, tranquilly, "no danger of that, I reckon."

The artists presently took their leave. Then Barrow put his hands on Tracy's shoulders and said:

"Look me in the eye, my boy. Steady, steady. There – it's just as I thought – hoped, anyway; you're all right, thank goodness. Nothing the matter with your mind. But don't do that again – even for fun. It isn't wise. They wouldn't have believed you if you'd been an earl's son. Why, they couldn't – don't you know that? What ever possessed you to take such a freak? But never mind about that; let's not talk of it. It was a mistake; you see that yourself."

"Yes – it was a mistake."

"Well, just drop it out of your mind; it's no harm; we all make them. Pull your courage together, and don't brood, and don't give up. I'm at your back, and we'll pull through, don't you be afraid."

When he was gone, Barrow walked the floor a good while, uneasy in his mind. He said to himself, "I'm troubled about him. He never would have made a break like that if he hadn't been a little off his balance. But I know what being out of work and no prospect ahead can do for a man. First it knocks the pluck out of him and drags his pride in the dirt; worry does the rest, and his mind gets shaky. I must talk to these people. No – if there's any humanity in them – and there is, at bottom– they'll be easier on him if they think his troubles have disturbed his reason. But I've got to find him some work; work's the only medicine for his disease. Poor devil! away off here, and not a friend."

Chapter XVII

The moment Tracy was alone his spirits vanished away, and all the misery of his situation was manifest to him. To be moneyless and an object of the chairmaker's charity – this was bad enough, but his folly in proclaiming himself an earl's son to that scoffing and unbelieving crew, and, on top of that, the humiliating result – the recollection of these things was a sharper torture still. He made up his mind that he would never play earl's son again before a doubtful audience.

His father's answer was a blow he could not understand. At times he thought his father imagined he could get work to do in America without any trouble, and was minded to let him try it and cure himself of his radicalism by hard, cold, disenchanting experience. That seemed the most plausible theory, yet he could not content himself with it. A theory that pleased him better was, that this cablegram would be followed by another, of a gentler sort, requiring him to come home. Should he write and strike his flag, and ask for a ticket home? Oh, no, that he couldn't ever do. At least, not yet. That cablegram would come, it certainly would. So he went from one telegraph office to another every day for nearly a week, and asked if there was a cablegram for Howard Tracy. No, there wasn't any. So they answered him at first. Later, they said it before he had a chance to ask. Later still they merely shook their heads impatiently as soon as he came in sight. After that he was ashamed to go any more.

He was down in the lowest depths of despair, now; for the harder Barrow tried to find work for him the more hopeless the possibilities seemed to grow. At last he said to Barrow:

"Look here. I want to make a confession. I have got down, now, to where I am not only willing to acknowledge to myself that I am a shabby creature and full of false pride, but am willing to acknowledge it to you. Well, I've been allowing you to wear yourself out hunting for work for me when there's been a chance open to me all the time. Forgive my pride – what was left of it. It is all gone, now, and I've come to confess that if those ghastly artists want another confederate, I'm their man – for at last I am dead to shame."

"No? Really, can you paint?"

"Not as badly as they. No, I don't claim that, for I am not a genius; in fact, I am a very indifferent amateur, a slouchy dabster, a mere artistic sarcasm; but drunk or asleep I can beat those buccaneers."

"Shake! I want to shout! Oh, I tell you, I am immensely delighted and relieved. Oh, just to work – that is life! No matter what the work is– that's of no consequence. Just work itself is bliss when a man's been starving for it. I've been there! Come right along; we'll hunt the old boys up. Don't you feel good? I tell you I do."

The freebooters were not at home. But their "works" were, displayed in profusion all about the little ratty studio. Cannon to the right of them, cannon to the left of them, cannon in front – it was Balaclava come again.

"Here's the uncontented hackman, Tracy. Buckle to – deepen the sea-green to turf, turn the ship into a hearse. Let the boys have a taste of your quality."

The artists arrived just as the last touch was put on. They stood transfixed with admiration.

"My souls but she's a stunner, that hearse! The hackman will just go all to pieces when he sees that won't he Andy?"

"Oh, it is sphlennid, sphlennid! Herr Tracy, why haf you not said you vas a so sublime aartist? Lob' Gott, of you had lif'd in Paris you would be a Pree de Rome, dot's votes de matter!"

The arrangements were soon made. Tracy was taken into full and equal partnership, and he went straight to work, with dash and energy, to reconstructing gems of art whose accessories had failed to satisfy. Under his hand, on that and succeeding days, artillery disappeared and the emblems of peace and commerce took its place – cats, hacks, sausages, tugs, fire engines, pianos, guitars, rocks, gardens, flower-pots, landscapes – whatever was wanted, he flung it in; and the more out of place and absurd the required object was, the more joy he got out of fabricating it. The pirates were delighted, the customers applauded, the sex began to flock in, great was the prosperity of the firm. Tracy was obliged to confess to himself that there was something about work, – even such grotesque and humble work as this – which most pleasantly satisfied a something in his nature which had never been satisfied before, and also gave him a strange new dignity in his own private view of himself.

The Unqualified Member from Cherokee Strip was in a state of deep dejection. For a good while, now, he had been leading a sort of life which was calculated to kill; for it had consisted in regularly alternating days of brilliant hope and black disappointment. The brilliant hopes were created by the magician Sellers, and they always promised that now he had got the trick, sure, and would effectively influence that materialized cowboy to call at the Towers before night. The black disappointments consisted in the persistent and monotonous failure of these prophecies.

At the date which this history has now reached, Sellers was appalled to find that the usual remedy was inoperative, and that Hawkins's low spirits refused absolutely to lift. Something must be done, he reflected; it was heart-breaking, this woe, this smileless misery, this dull despair that looked out from his poor friend's face. Yes, he must be cheered up. He mused a while, then he saw his way. He said in his most conspicuously casual vein:

"Er – uh – by the way, Hawkins, we are feeling disappointed about this thing – the way the materializee is acting, I mean – we are disappointed; you concede that?"

"Concede it? Why, yes, if you like the term."

"Very well; so far, so good. Now for the basis of the feeling. It is not that your heart, your affections are concerned; that is to say, it is not that you want the materializee Itself. You concede that?"

"Yes, I concede that, too – cordially."

"Very well, again; we are making progress. To sum up: The feeling, it is conceded, is not engendered by the mere conduct of the materializee; it is conceded that it does not arise from any pang which the personality of the materializee could assuage. Now then," said the earl, with the light of triumph in his eye, "the inexorable logic of the situation narrows us down to this: our feeling has its source in the money-loss involved. Come – isn't that so?"

"Goodness knows I concede that, with all my heart."

"Very well. When you've found out the source of a disease, you've also found out what remedy is required – just as in this case. In this case money is required. And only money."

The old, old seduction was in that airy, confident tone and those significant words – usually called pregnant words in books. The old answering signs of faith and hope showed up in Hawkins's countenance, and he said:

"Only money? Do you mean that you know a way to—"

"Washington, have you the impression that I have no resources but those I allow the public and my intimate friends to know about?"

"Well, I – er—"

"Is it likely, do you think, that a man moved by nature and taught by experience to keep his affairs to himself and a cautious and reluctant tongue in his head, wouldn't be thoughtful enough to keep a few resources in reserve for a rainy day, when he's got as many as I have to select from?"

"Oh, you make me feel so much better already, Colonel!"

"Have you ever been in my laboratory?"

"Why, no."

"That's it. You see you didn't even know that I had one. Come along. I've got a little trick there that I want to show you. I've kept it perfectly quiet, not fifty people know anything about it. But that's my way, always been my way. Wait till you're ready, that's the idea; and when you're ready, zzip! – let her go!"

"Well, Colonel, I've never seen a man that I've had such unbounded confidence in as you. When you say a thing right out, I always feel as if that ends it; as if that is evidence, and proof, and everything else."

The old earl was profoundly pleased and touched.

"I'm glad you believe in me, Washington; not everybody is so just."

"I always have believed in you; and I always shall as long as I live."

"Thank you, my boy. You shan't repent it. And you can't." Arrived in the "laboratory," the earl continued, "Now, cast your eye around this room – what do you see? Apparently a junk-shop; apparently a hospital connected with a patent office – in reality, the mines of Golconda in disguise! Look at that thing there. Now what would you take that thing to be?"

"I don't believe I could ever imagine."

"Of course you couldn't. It's my grand adaptation of the phonograph to the marine service. You store up profanity in it for use at sea. You know that sailors don't fly around worth a cent unless you swear at them – so the mate that can do the best job of swearing is the most valuable man. In great emergencies his talent saves the ship. But a ship is a large thing, and he can't be everywhere at once; so there have been times when one mate has lost a ship which could have been saved if they had had a hundred. Prodigious storms, you know. Well, a ship can't afford a hundred mates; but she can afford a hundred Cursing Phonographs, and distribute them all over the vessel – and there, you see, she's armed at every point. Imagine a big storm, and a hundred of my machines all cursing away at once – splendid spectacle, splendid! – you couldn't hear yourself think. Ship goes through that storm perfectly serene – she's just as safe as she'd be on shore."