Oh, how happy I will be,
When my darling’s face I’ll see;
Oh, tell him for to meet me in the moonlight,
Down where the golden lilies bloom.
The orchestra played the tune of this chorus a second time, with certain variations, while the girl danced to it. She sidled to one side of the stage and kicked, then sidled to the other and kicked again. As she finished with the song, a man, evidently the lodger in question, came in. Instantly McTeague exploded in a roar of laughter. The man was intoxicated, his hat was knocked in, one end of his collar was unfastened and stuck up into his face, his watch-chain dangled from his pocket, and a yellow satin slipper was tied to a buttonhole of his vest; his nose was vermilion, one eye was black and blue. After a short dialogue with the girl, a third actor appeared. He was dressed like a little boy, the girl’s younger brother. He wore an immense turned-down collar, and was continually doing handsprings and wonderful back somersaults. The “act” devolved upon these three people; the lodger making love to the girl in the short blue dress, the boy playing all manner of tricks upon him, giving him tremendous digs in the ribs or slaps upon the back that made him cough, pulling chairs from under him, running on all fours between his legs and upsetting him, knocking him over at inopportune moments. Every one of his falls was accentuated by a bang upon the bass drum. The whole humor of the “act” seemed to consist in the tripping up of the intoxicated lodger.
This horseplay delighted McTeague beyond measure. He roared and shouted every time the lodger went down, slapping his knee, wagging his head. Owgooste crowed shrilly, clapping his hands and continually asking, “What did he say, ma? What did he say?” Mrs. Sieppe laughed immoderately, her huge fat body shaking like a mountain of jelly. She exclaimed from time to time, “Ach, Gott, dot fool!” Even Trina was moved, laughing demurely, her lips closed, putting one hand with its new glove to her mouth.
The performance went on. Now it was the “musical marvels,” two men extravagantly made up as negro minstrels, with immense shoes and plaid vests. They seemed to be able to wrestle a tune out of almost anything—glass bottles, cigar-box fiddles, strings of sleigh-bells, even graduated brass tubes, which they rubbed with resined fingers. McTeague was stupefied with admiration.
“That’s what you call musicians,” he announced gravely. “ ’Home, Sweet Home,’ played upon a trombone. Think of that! Art could go no farther.”
The acrobats left him breathless. They were dazzling young men with beautifully parted hair, continually making graceful gestures to the audience. In one of them the dentist fancied he saw a strong resemblance to the boy who had tormented the intoxicated lodger and who had turned such marvellous somersaults. Trina could not bear to watch their antics. She turned away her head with a little shudder. “It always makes me sick,” she explained.
The beautiful young lady, “The Society Contralto,” in evening dress, who sang the sentimental songs, and carried the sheets of music at which she never looked, pleased McTeague less. Trina, however, was captivated. She grew pensive over
You do not love me—no;
Bid me goodbye and go;
and split her new gloves in her enthusiasm when it was finished.
“Don’t you love sad music, Mac?” she murmured.
Then came the two comedians. They talked with fearful rapidity; their wit and repartee seemed inexhaustible.
“As I was going down the street yesterday—”
“Ah! as you were going down the street—all right.”
“I saw a girl at a window—”
“You saw a girl at a window.”
“And this girl she was a corker—”
“Ah! as you were going down the street yesterday you saw a girl at a window, and this girl she was a corker. All right, go on.”
The other comedian went on. The joke was suddenly evolved. A certain phrase led to a song, which was sung with lightning rapidity, each performer making precisely the same gestures at precisely the same instant. They were irresistible. McTeague, though he caught but a third of the jokes, could have listened all night.
After the comedians had gone out, the iron advertisement curtain was let down.
“What comes now?” said McTeague, bewildered.
“It’s the intermission of fifteen minutes now.”
The musicians disappeared through the rabbit hutch, and the audience stirred and stretched itself. Most of the young men left their seats.
During this intermission McTeague and his party had “refreshments.” Mrs. Sieppe and Trina had Queen Charlottes, McTeague drank a glass of beer, Owgooste ate the orange and one of the bananas. He begged for a glass of lemonade, which was finally given him.
“Joost to geep um quiet,” observed Mrs. Sieppe.
But almost immediately after drinking his lemonade Owgooste was seized with a sudden restlessness. He twisted and wriggled in his seat, swinging his legs violently, looking about him with eyes full of a vague distress. At length, just as the musicians were returning, he stood up and whispered energetically in his mother’s ear. Mrs. Sieppe was exasperated at once.
“No, no,” she cried, reseating him brusquely.
The performance was resumed. A lightning artist appeared, drawing caricatures and portraits with incredible swiftness. He even went so far as to ask for subjects from the audience, and the names of prominent men were shouted to him from the gallery. He drew portraits of the President, of Grant, of Washington, of Napoleon Bonaparte, of Bismarck, of Garibaldi, of P. T. Barnum.
And so the evening passed. The hall grew very hot, and the smoke of innumerable cigars made the eyes smart. A thick blue mist hung low over the heads of the audience. The air was full of varied smells—the smell of stale cigars, of flat beer, of orange peel, of gas, of sachet powders, and of cheap perfumery.
One “artist” after another came upon the stage. McTeague’s attention never wandered for
