Project Gutenberg's The Magic Egg and Other Stories, by Frank Stockton This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Magic Egg and Other Stories Author: Frank Stockton Release Date: February 3, 2008 [EBook #429] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE MAGIC EGG AND OTHER STORIES *** THE MAGIC EGG AND OTHER STORIES BY FRANK R. STOCKTON CONTENTS THE MAGIC EGG "HIS WIFE'S DECEASED SISTER" THE WIDOW'S CRUISE CAPTAIN ELI'S BEST EAR LOVE BEFORE BREAKFAST THE STAYING POWER OF SIR ROHAN A PIECE OF RED CALICO THE CHRISTMAS WRECK MY WELL AND WHAT CAME OUT OF IT MR. TOLMAN MY UNWILLING NEIGHBOR OUR ARCHERY CLUB THE MAGIC EGG The pretty little theatre attached to the building of the Unicorn Club had been hired for a certain January afternoon by Mr. Herbert Loring, who wished to give therein a somewhat novel performance, to which he had invited a small audience consisting entirely of friends and acquaintances. Loring was a handsome fellow about thirty years old, who had travelled far and studied much. He had recently made a long sojourn in the far East, and his friends had been invited to the theatre to see some of the wonderful things he had brought from that country of wonders. As Loring was a club-man, and belonged to a family of good social standing, his circle of acquaintances was large, and in this circle a good many unpleasant remarks had been made regarding the proposed entertainment—made, of course, by the people who had not been invited to be present. Some of the gossip on the subject had reached Loring, who did not hesitate to say that he could not talk to a crowd, and that he did not care to show the curious things he had collected to people who would not thoroughly appreciate them. He had been very particular in regard to his invitations. At three o'clock on the appointed afternoon nearly all the people who had been invited to the Unicorn Theatre were in their seats. No one had stayed away except for some very good reason, for it was well known that if Herbert Loring offered to show anything it was worth seeing. About forty people were present, who sat talking to one another, or admiring the decoration of the theatre. As Loring stood upon the stage—where he was entirely alone, his exhibition requiring no assistants—he gazed through a loophole in the curtain upon a very interesting array of faces. There were the faces of many men and women of society, of students, of workers in various fields of thought, and even of idlers in all fields of thought; but there was not one which indicated a frivolous or listless disposition. The owners of those faces had come to see something, and they wished to see it. For a quarter of an hour after the time announced for the opening of the exhibition Loring peered through the hole in the curtain, and then, although all the people he had expected had not arrived, he felt it would not do for him to wait any longer. The audience was composed of well-bred and courteous men and women, but despite their polite self-restraint Loring could see that some of them were getting tired of waiting. So, very reluctantly, and feeling that further delay was impossible, he raised the curtain and came forward on the stage. Briefly he announced that the exhibition would open with some fireworks he had brought from Corea. It was plain to see that the statement that fireworks were about to be set off on a theatre stage, by an amateur, had rather startled some of the audience, and Loring hastened to explain that these were not real fireworks, but that they were contrivances made of colored glass, which were illuminated by the powerful lens of a lantern which was placed out of sight, and while the apparent pyrotechnic display would resemble fireworks of strange and grotesque designs, it would be absolutely without danger. He brought out some little bunches of bits of colored glass, hung them at some distance apart on a wire which was stretched across the stage just high enough for him to reach it, and then lighted his lantern, which he placed in one of the wings, lowered all the lights in the theatre, and began his exhibition. As Loring turned his lantern on one of the clusters of glass lenses, strips, and points, and, unseen himself, caused them to move by means of long cords attached, the effects were beautiful and marvellous. Little wheels of colored fire rapidly revolved, miniature rockets appeared to rise a few feet and to explode in the air, and while all the ordinary forms of fireworks were produced on a diminutive scale, there were some effects that were entirely novel to the audience. As the light was turned successively upon one and another of the clusters of glass, sometimes it would flash along the whole line so rapidly that all the various combinations of color and motion seemed to be combined in one, and then for a time each particular set of fireworks would blaze, sparkle, and coruscate by itself, scattering particles of colored light as if they had been real sparks of fire. This curious and beautiful exhibition of miniature pyrotechnics was extremely interesting to the audience, who gazed upward with rapt and eager attention at the line of wheels, stars, and revolving spheres. So far as interest gave evidence of satisfaction, there was never a better satisfied audience. At first there had been some hushed murmurs of pleasure, but very soon the attention of every one seemed so completely engrossed by the dazzling display that they simply gazed in silence. For twenty minutes or longer the glittering show went on, and not a sign of weariness or inattention was made by any one of the assembled company. Then gradually the colors of the little fireworks faded, the stars and wheels revolved more slowly, the lights in the body of the theatre were gradually raised, and the stage curtain went softly down. Anxiously, and a little pale, Herbert Loring peered through the loophole in the curtain. It was not easy to judge of the effects of his exhibition, and he did not know whether or not it had been a success. There was no applause, but, on the other hand, there was no signs that any one resented the exhibition as a childish display of colored lights. It was impossible to look upon that audience without believing that they had been thoroughly interested in what they had seen, and that they expected to see more. For two or three minutes Loring gazed through his loophole, and then, still with some doubt in his heart, but with a little more color in his checks, he prepared for the second part of his performance. At this moment there entered the theatre, at the very back of the house, a young lady. She was handsome and well dressed, and as she opened the door—Loring had employed no ushers or other assistants in this little social performance—she paused for a moment and looked into the theatre, and then noiselessly stepped to a chair in the back row and sat down. This was Edith Starr, who, a month before, had been betrothed to Herbert Loring. Edith and her mother had been invited to this performance, and front seats had been reserved for them, for each guest had received a numbered card. But Mrs. Starr had a headache, and could not go out that afternoon, and for a time her daughter had thought that she, too, must give up the pleasure Loring had promised her, and stay with her mother. But when the elder lady dropped into a quiet sleep, Edith thought that, late as it was, she would go by herself, and see what she could of the performance. She was quite certain that if her presence were known to Loring he would stop whatever he was doing until she had been provided with a seat which he thought suitable for her, for he had made a point of her being properly seated when he gave the invitations. Therefore, being equally desirous of not disturbing the performance and of not being herself conspicuous, she sat behind two rather large men, where she could see the stage perfectly well, but where she herself would not be likely to be seen. In a few moments the curtain rose, and Loring came forward, carrying a small, light table, which he placed near the front of the stage, and for a moment stood quietly by it. Edith noticed upon his face the expression of uncertainty and anxiety which had not yet left it. Standing by the side of the table, and speaking very slowly, but so clearly that his words could be heard distinctly in all parts of the room, he began some introductory remarks regarding the second part of his performance. "The extraordinary, and I may say marvellous, thing which I am about to show you," he said, "is known among East Indian magicians as the magic egg. The exhibition is a very uncommon one, and has seldom been seen by Americans or Europeans, and it was by a piece of rare good fortune that I became possessed of the appliances necessary for this exhibition. They are indeed very few and simple, but never before, to the best of my knowledge and belief, have they been seen outside of India. "I will now get the little box which contains the articles necessary for this magical performance, and I will say that if I had time to tell you of the strange and amazing adventure which resulted in my possession of this box, I am sure you would be as much interested in that as I expect you to be in the contents of the box. But in order that none of you may think this is an ordinary trick, executed by means of concealed traps or doors, I wish you to take particular notice of this table, which is, as you see, a plain, unpainted pine table, with nothing but a flat top, and four straight legs at the corners. You can see under and around it, and it gives no opportunity to conceal anything." Then, standing for a few moments as if he had something else to say, he turned and stepped toward one of the wings. Edith was troubled as she looked at her lover during these remarks. Her interest was great, greater, indeed, than that of the people about her, but it was not a pleasant interest. As Loring stopped speaking, and looked about him, there was a momentary flush on his face. She knew this was caused by excitement, and she was pale from the same cause. Very soon Loring came forward, and stood by the table. "Here is the box," he said, "of which I spoke, and as I hold it up I think you all can see it. It is not large, being certainly not more than twelve inches in length and two deep, but it contains some very wonderful things. The outside of this box is covered with delicate engraving and carving which you cannot see, and these marks and lines have, I think, some magical meaning, but I do not know what it is. I will now open the box and show you what is inside. The first thing I take out is this little stick, not thicker than a lead-pencil, but somewhat longer, as you see. This is a magical wand, and is covered with inscriptions of the same character as those on the outside of the box. The next thing is this little red bag, well filled, as you see, which I shall put on the table, for I shall not yet need it. "Now I take out a piece of cloth which is folded into a very small compass, but as I unfold it you will perceive that it is more than a foot square, and is covered with embroidery. All those strange lines and figures in gold and red, which you can plainly see on the cloth as I hold it up, are also characters in the same magic language as those on the box and wand. I will now spread the cloth on the table, and then take out the only remaining thing in the box, and this is nothing in the world but an egg— a simple, ordinary hen's egg, as you all see as I hold it up. It may be a trifle larger than an ordinary egg, but then, after all, it is nothing but a common egg—that is, in appearance. In reality it is a good deal more. "Now I will begin the performance." And as he stood by the back of the table, over which he had been slightly bending, and threw his eyes over the audience, his voice was stronger, and his face had lost all its pallor. He was evidently warming up with his subject. "I now take up this wand," he said, "which, while I hold it, gives me power to produce the phenomena which you are about to behold. You may not all believe that there is any magic whatever about this little performance, and that it is all a bit of machinery; but whatever you may think about it, you shall see what you shall see. "Now with this wand I gently touch this egg which is lying on the square of cloth. I do not believe you can see what has happened to this egg, but I will tell you. There is a little line, like a hair, entirely around it. Now that line has become a crack. Now you can see it, I know. It grows wider and wider! Look! The shell of the egg is separating in the middle. The whole egg slightly moves. Do you notice that? Now you can see something yellow showing itself between the two parts of the shell. See! It is moving a good deal, and the two halves of the shell are separating more and more. And now out tumbles this queer little object. Do you see what it is? It is a poor, weak, little chick, not able to stand, but alive—alive! You can all perceive that it is alive. Now you can see that it is standing on its feet, feebly enough, but still standing. "Behold, it takes a few steps! You cannot doubt that it is alive, and came out of that egg. It is beginning to walk about over the cloth. Do you notice that it is picking the embroidery? Now, little chick, I will give you something to eat. This little red bag contains grain, a magical grain, with which I shall feed the chicken. You must excuse my awkwardness in opening the bag, as I still hold the wand; but this little stick I must not drop. See, little chick, there are some grains! They look like rice, but, in fact, I have no idea what they are. But he knows, he knows! Look at him! See how he picks it up! There! He has swallowed one, two, three. That will do, little chick, for a first meal. "The grain seems to have strengthened him already, for see how lively he is, and how his yellow down stands out on him, so puffy and warm! You are looking for some more grain, are you? Well, you cannot have it just yet, and keep away from those pieces of eggshell, which, by the way, I will put back into the box. Now, sir, try to avoid the edge of the table, and, to quiet you, I will give you a little tap on the back with my wand. Now, then, please observe closely. The down which just now covered him has almost gone. He is really a good deal bigger, and ever so much uglier. See the little pin-feathers sticking out over him! Some spots here and there are almost bare, but he is ever so much more active. Ha! Listen to that! He is so strong that you can hear his beak as he pecks at the table. He is actually growing bigger and bigger before our very eyes! See that funny little tail, how it begins to stick up, and quills are showing at the end of his wings. "Another tap, and a few more grains. Careful, sir! Don't tear the cloth! See how rapidly he grows! He is fairly covered with feathers, red and black, with a tip of yellow in front. You could hardly get that fellow into an ostrich egg! Now, then, what do you think of him? He is big enough for a broiler, though I don't think any one would want to take him for that purpose. Some more grain, and another tap from my wand. See! He does not mind the little stick, for he has been used to it from his very birth. Now, then, he is what you would call a good half-grown chick. Rather more than half grown, I should say. Do you notice his tail? There is no mistaking him for a pullet. The long feathers are beginning to curl over already. He must have a little more grain. Look out, sir, or you will be off the table! Come back here! This table is too small for him, but if he were on the floor you could not see him so well. "Another tap. Now see that comb on the top of his head; you scarcely noticed it before, and now it is bright red. And see his spurs beginning to show—on good thick legs, too. There is a fine young fellow for you! Look how he jerks his head from side to side, like the young prince of a poultry-yard, as he well deserves to be!" The attentive interest which had at first characterized the audience now changed to excited admiration and amazement. Some leaned forward with mouths wide open. Others stood up so that they could see better. Ejaculations of astonishment and wonder were heard on every side, and a more thoroughly fascinated and absorbed audience was never seen. "Now, my friends," Loring continued, "I will give this handsome fowl another tap. Behold the result—a noble, full-grown cock! Behold his spurs! They are nearly an inch long! See, there is a comb for you! And what a magnificent tail of green and black, contrasting so finely with the deep red of the rest of his body! Well, sir, you are truly too big for this table. As I cannot give you more room, I will set you up higher. Move over a little, and I will set this chair on the table. There! Upon the seat! That's right, but don't stop. There is the back, which is higher yet! Up with you! Ha! There, he nearly upset the chair, but I will hold it. See! He has turned around. Now, then, look at him. See his wings as he flaps them! He could fly with such wings. Look at him! See that swelling breast! Ha, ha! Listen! Did you ever hear a crow like that? It fairly rings through the house. Yes, I knew it! There is another!" At this point the people in the house were in a state of wild excitement. Nearly all of them were on their feet, and they were in such a condition of frantic enthusiasm that Loring was afraid some of them might make a run for the stage. "Come, sir," cried Loring, now almost shouting, "that will do. You have shown us the strength of your lungs. Jump down on the seat of the chair; now on the table. There, I will take away the chair, and you can stand for a moment on the table and let our friends look at you; but only for a moment. Take that tap on your back. Now do you see any difference? Perhaps you may not, but I do. Yes, I believe you all do. He is not the big fellow he was a minute ago. He is really smaller—only a fine cockerel. A nice tail that, but with none of the noble sweep that it had a minute ago. No, don't try to get off the table. You can't escape my wand. Another tap. Behold a half-grown chicken, good to eat, but with not a crow in him. Hungry, are you? But you need not pick at the table that way. You get no more grain, but only this little tap. Ha, ha! What are you coming to? There is a chicken barely feathered enough for us to tell what color he is going to be. "Another tap will take still more of the conceit out of him. Look at him! There are his pin-feathers, and his bare spots. Don't try to get away; I can easily tap you again. Now then. Here is a lovely little chick, fluffy with yellow down. He is active enough, but I shall quiet him. One tap, and now what do you see? A poor, feeble chicken, scarcely able to stand, with his down all packed close to him as if he had been out in the rain. Ah, little chick, I will take the two halves of the egg-shell from which you came, and put them on each side of you. Come, now get in! I close them up. You are lost to view. There is nothing to be seen but a crack around the shell! Now it has gone! There, my friends; as I hold it on high, behold the magic egg, exactly as it was when I first took it out of the box, into which I will place it again, with the cloth and the wand and the little red bag, and shut it up with a snap. I will let you take one more look at this box before I put it away behind the scenes. Are you satisfied with what I have shown you? Do you think it is really as wonderful as you supposed it would be?" At these words the whole audience burst into riotous applause, during which Loring disappeared, but he was back in a moment. "Thank you!" he cried, bowing low, and waving his arms before him in the manner of an Eastern magician making a salaam. From side to side he turned, bowing and thanking, and then, with a hearty "Good-by to you; good-by to you all!" he stepped back and let down the curtain. For some moments the audience remained in their seats as if they were expecting something more, and then they rose quietly and began to disperse. Most of them were acquainted with one another, and there was a good deal of greeting and talking as they went out of the theatre. When Loring was sure the last person had departed, he turned down the lights, locked the door, and gave the key to the steward of the club. He walked to his home a happy man. His exhibition had been a perfect success, with not a break or a flaw in it from beginning to end. "I feel," thought the young man, as he strode along, "as if I could fly to the top of that steeple, and flap and crow until all the world heard me." That evening, as was his daily custom, Herbert Loring called upon Miss Starr. He found the young lady in the library. "I came in here," she said, "because I have a good deal to talk to you about, and I do not want interruptions." With this arrangement the young man expressed his entire satisfaction, and immediately began to inquire the cause of her absence from his exhibition in the afternoon. "But I was there," said Edith. "You did not see me, but I was there. Mother had a headache, and I went by myself." "You were there!" exclaimed Loring, almost starting from his chair. "I don't understand. You were not in your seat." No," answered Edith. "I was on the very back row of seats. You could not see me, and I did not wish you to see me." "Edith!" exclaimed Loring, rising to his feet and leaning over the library table, which was between them. "When did you come? How much of the performance did you see?" "I was late," she said. "I did not arrive until after the fireworks, or whatever they were." For a moment Loring was silent, as if he did not understand the situation. "Fireworks!" he said. "How did you know there had been fireworks?" "I heard the people talking of them as they left the theatre," she answered. "And what did they say?" he inquired quickly. "They seemed to like them very well," she replied, "but I do not think they were quite satisfied. From what I heard some persons say, I inferred that they thought it was not very much of a show to which you had invited them." Again Loring stood in thought, looking down at the table. But before he could speak again, Edith sprang to her feet. "Herbert Loring," she cried, "what does all this mean? I was there during the whole of the exhibition of what you called the magic egg. I saw all those people wild with excitement at the wonderful sight of the chicken that came out of the egg, and grew to full size, and then dwindled down again, and went back into the egg, and, Herbert, there was no egg, and there was no little box, and there was no wand, and no embroidered cloth, and there was no red bag, nor any little chick, and there was no full- grown fowl, and there was no chair that you put on the table! There was nothing, absolutely nothing, but you and that table! Even the table was not what you said it was. It was not an unpainted pine table with four straight legs. It was a table of dark polished wood, and it stood on a single post with feet. There was nothing there that you said was there. Everything was a sham and a delusion; every word you spoke was untrue. And yet everybody in that theatre, excepting you and me, saw all the things that you said were on the stage. I know they saw them all, for I was with the people, and heard them, and saw them, and at times I fairly felt the thrill of enthusiasm which possessed them as they glared at the miracles and wonders you said were happening." Loring smiled. "Sit down, my dear Edith," he said. "You are excited, and there is not the slightest cause for it. I will explain the whole affair to you. It is simple enough. You know that study is the great object of my life. I study all sorts of things; and just now I am greatly interested in hypnotism. The subject has become fascinating to me. I have made a great many successful trials of my power, and the affair of this afternoon was nothing but a trial of my powers on a more extensive scale than anything I have yet attempted. I wanted to see if it were possible for me to hypnotize a considerable number of people without any one suspecting what I intended to do. The result was a success. I hypnotized all those people by means of the first part of my performance, which consisted of some combinations of colored glass with lights thrown upon them. They revolved, and looked like fireworks, and were strung on a wire high up on the stage. "I kept up the glittering and dazzling show—which was well worth seeing, I can assure you—until the people had been straining their eyes upward for almost half an hour. And this sort of thing—I will tell you if you do not know it—is one of the methods of producing hypnotic sleep. "There was no one present who was not an impressionable subject, for I was very careful in sending out my invitations, and when I became almost certain that my audience was thoroughly hypnotized, I stopped the show and began the real exhibition, which was not really for their benefit, but for mine. "Of course, I was dreadfully anxious for fear I had not succeeded entirely, and that there might be at least some one person who had not succumbed to the hypnotic influences, and so I tested the matter by bringing out that table and telling them it was something it was not. If I had had any reason for supposing that some of the audience saw the table as it really was, I had an explanation ready, and I could have retired from my position without any one supposing that I had intended making hypnotic experiments. The rest of the exhibition would have been some things that any one could see, and as soon as possible I would have released from their spell those who were hypnotized. But when I became positively assured that every one saw a light pine table with four straight legs, I confidently went on with the performances of the magic egg." Edith Starr was still standing by the library table. She had not heeded Loring's advice to sit down, and she was trembling with emotion. "Herbert Loring," she said, "you invited my mother and me to that exhibition. You gave us tickets for front seats, where we would be certain to be hypnotized if your experiment succeeded, and you would have made us see that false show, which faded from those people's minds as soon as they recovered from the spell, for as they went away they were talking only of the fireworks, and not one of them mentioned a magic egg, or a chicken, or anything of the kind. Answer me this: did you not intend that I should come and be put under that spell?" Loring smiled. "Yes," he said, "of course I did. But then your case would have been different from that of the other spectators: I should have explained the whole thing to you, and I am sure we would have had a great deal of pleasure, and profit too, in discussing your experiences. The subject is extremely—" "Explain to me!" she cried. "You would not have dared to do it! I do not know how brave you may be, but I know you would not have had the courage to come here and tell me that you had taken away my reason and my judgment, as you took them away from all those people, and that you had made me a mere tool of your will—glaring and panting with excitement at the wonderful things you told me to see where nothing existed. I have nothing to say about the others. They can speak for themselves if they ever come to know what you did to them. I speak for myself. I stood up with the rest of the people. I gazed with all my power, and over and over again I asked myself if it could be possible that anything was the matter with my eyes or my brain, and if I could be the only person there who could not see the marvellous spectacle that you were describing. But now I know that nothing was real, not even the little pine table—not even the man!" "Not even me!" exclaimed Loring. "Surely I was real enough!" "On that stage, yes," she said. "But you there proved you were not the Herbert Loring to whom I promised myself. He was an unreal being. If he had existed he would not have been a man who would have brought me to that public place, all ignorant of his intentions, to cloud my perceptions, to subject my intellect to his own, and make me believe a lie. If a man should treat me in that way once he would treat me so at other times, and in other ways, if he had the chance. You have treated me in the past as to-day you treated those people who glared at the magic egg. In the days gone by you made me see an unreal man, but you will never do it again! Good-by." "Edith," cried Loring, "you don't—" But she had disappeared through a side door, and he never spoke to her again. Walking home through the dimly lighted streets, Loring involuntarily spoke aloud. "And this," he said, "is what came out of the magic egg!" "HIS WIFE'S DECEASED SISTER" It is now five years since an event occurred which so colored my life, or rather so changed some of its original colors, that I have thought it well to write an account of it, deeming that its lessons may be of advantage to persons whose situations in life are similar to my own. When I was quite a young man I adopted literature as a profession, and having passed through the necessary preparatory grades, I found myself, after a good many years of hard and often unremunerative work, in possession of what might be called a fair literary practice. My articles, grave, gay, practical, or fanciful, had come to be considered with a favor by the editors of the various periodicals for which I wrote, on which I found in time I could rely with a very comfortable certainty. My productions created no enthusiasm in the reading public; they gave me no great reputation or very valuable pecuniary return; but they were always accepted, and my receipts from them, at the time to which I have referred, were as regular and reliable as a salary, and quite sufficient to give me more than a comfortable support. It was at this time I married. I had been engaged for more than a year, but had not been willing to assume the support of a wife until I felt that my pecuniary position was so assured that I could do so with full satisfaction to my own conscience. There was now no doubt in regard to this position, either in my mind or in that of my wife. I worked with great steadiness and regularity, I knew exactly where to place the productions of my pen, and could calculate, with a fair degree of accuracy, the sums I should receive for them. We were by no means rich, but we had enough, and were thoroughly satisfied and content. Those of my readers who are married will have no difficulty in remembering the peculiar ecstasy of the first weeks of their wedded life. It is then that the flowers of this world bloom brightest; that its sun is the most genial; that its clouds are the scarcest; that its fruit is the most delicious; that the air is the most balmy; that its cigars are of the highest flavor; that the warmth and radiance of early matrimonial felicity so rarefy the intellectual atmosphere that the soul mounts higher, and enjoys a wider prospect, than ever before. These experiences were mine. The plain claret of my mind was changed to sparkling champagne, and at the very height of its effervescence I wrote a story. The happy thought that then struck me for a tale was of a very peculiar character, and it interested me so much that I went to work at it with great delight and enthusiasm, and finished it in a comparatively short time. The title of the story was "His Wife's Deceased Sister," and when I read it to Hypatia she was delighted with it, and at times was so affected by its pathos that her uncontrollable emotion caused a sympathetic dimness in my eyes which prevented my seeing the words I had written. When the reading was ended and my wife had dried her eyes, she turned to me and said, "This story will make your fortune. There has been nothing so pathetic since Lamartine's `History of a Servant Girl.'" As soon as possible the next day I sent my story to the editor of the periodical for which I wrote most frequently, and in which my best productions generally appeared. In a few days I had a letter from the editor, in which he praised my story as he had never before praised anything from my pen. It had interested and charmed, he said, not only himself, but all his associates in the office. Even old Gibson, who never cared to read anything until it was in proof, and who never praised anything which had not a joke in it, was induced by the example of the others to read this manuscript, and shed, as he asserted, the first tears that had come from his eyes since his final paternal castigation some forty years before. The story would appear, the editor assured me, as soon as he could possibly find room for it. f anything could make our skies more genial, our flowers brighter, and the flavor of our fruit and cigars more delicious, it was a letter like this. And when, in a very short time, the story was published, we found that the reading public was inclined to receive it with as much sympathetic interest and favor as had been shown to it by the editors. My personal friends soon began to express enthusiastic opinions upon it. It was highly praised in many of the leading newspapers, and, altogether, it was a great literary success. I am not inclined to be vain of my writings, and, in general, my wife tells me, I think too little of them. But I did feel a good deal of pride and satisfaction in the success of "His Wife's Deceased Sister." If it did not make my fortune, as my wife asserted it would, it certainly would help me very much in my literary career. In less than a month from the writing of this story, something very unusual and unexpected happened to me. A manuscript was returned by the editor of the periodical in which "His Wife's Deceased Sister" had appeared. "It is a good story," he wrote, "but not equal to what you have just done. You have made a great hit, and it would not do to interfere with the reputation you have gained by publishing anything inferior to `His Wife's Deceased Sister,' which has had such a deserved success." I was so unaccustomed to having my work thrown back on my hands that I think I must have turned a little pale when I read the letter. I said nothing of the matter to my wife, for it would be foolish to drop such grains of sand as this into the smoothly oiled machinery of our domestic felicity, but I immediately sent the story to another editor. I am not able to express the astonishment I felt when, in the course of a week, it was sent back to me. The tone of the note accompanying it indicated a somewhat injured feeling on the part of the editor. "I am reluctant," he said, "to decline a manuscript from you; but you know very well that if you sent me anything like `His Wife's Deceased Sister' it would be most promptly accepted." I now felt obliged to speak of the affair to my wife, who was quite as much surprised, though, perhaps, not quite as much shocked, as I had been. "Let us read the story again," she said, "and see what is the matter with it." When we had finished its perusal, Hypatia remarked: "It is quite as good as many of the stories you have had printed, and I think it very interesting, although, of course, it is not equal to `His Wife's Deceased Sister.'" "Of course not," said I; "that was an inspiration that I cannot expect every day. But there must be something wrong about this last story which we do not perceive. Perhaps my recent success may have made me a little careless in writing it." "I don't believe that," said Hypatia. "At any rate," I continued, "I will lay it aside, and will go to work on a new one." In due course of time I had another manuscript finished, and I sent it to my favorite periodical. It was retained some weeks, and then came back to me. "It will never do," the editor wrote, quite warmly, "for you to go backward. The demand for the number containing `His Wife's Deceased Sister' still continues, and we do not intend to let you disappoint that great body of readers who would be so eager to see another number containing one of your stories." I sent this manuscript to four other periodicals, and from each of them it was returned with remarks to the effect that, although it was not a bad story in itself, it was not what they would expect from the author of "His Wife's Deceased Sister." The editor of a Western magazine wrote to me for a story to be published in a special number which he would issue for the holidays. I wrote him one of the character and length he desired, and sent it to him. By return mail it came back to me. "I had hoped," the editor wrote, "when I asked for a story from your pen, to receive something like `His Wife's Deceased Sister,' and I must own that I am very much disappointed." I was so filled with anger when I read this note that I openly objurgated "His Wife's Deceased Sister." "You must excuse me," I said to my astonished wife, "for expressing myself thus in your presence, but that confounded story will be the ruin of me yet. Until it is forgotten nobody will ever take anything I write." "And you cannot expect it ever to be forgotten," said Hypatia, with tears in her eyes. It is needless for me to detail my literary efforts in the course of the next few months. The ideas of the editors with whom my principal business had been done, in regard to my literary ability, had been so raised by my unfortunate story of "His Wife's Deceased Sister" that I found it was of no use to send them anything of lesser merit. And as to the other journals which I tried, they evidently considered it an insult for me to send them matter inferior to that by which my reputation had lately risen. The fact was that my successful story had ruined me. My income was at an end, and want actually stared me in the face; and I must admit that I did not like the expression of its countenance. It was of no use for me to try to write another story like "His Wife's Deceased Sister." I could not get married every time I began a new manuscript, and it was the exaltation of mind caused by my wedded felicity which produced that story. "It's perfectly dreadful!" said my wife. "If I had had a sister, and she had died, I would have thought it was my fault." "It could not be your fault," I answered, "and I do not think it was mine. I had no intention of deceiving anybody into the belief that I could do that sort of thing every time, and it ought not to be expected of me. Suppose Raphael's patrons had tried to keep him screwed up to the pitch of the Sistine Madonna, and had refused to buy anything which was not as good as that. In that case I think he would have occupied a much earlier and narrower grave than the one on which Mr. Morris Moore hangs his funeral decorations." "But, my dear," said Hypatia, who was posted on such subjects, "the Sistine Madonna was one of his latest paintings." "Very true," said I. "But if he had married as I did, he would have painted it earlier." I was walking homeward one afternoon about this time, when I met Barbel, a man I had known well in my early literary career. He was now about fifty years of age, but looked older. His hair and beard were quite gray, and his clothes, which were of the same general hue, gave me the idea that they, like his hair, had originally been black. Age is very hard on a man's external appointments. Barbel had an air of having been to let for a long time, and quite out of repair. But there was a kindly gleam in his eye, and he welcomed me cordially. "Why, what is the matter, old fellow?" said he. "I never saw you look so woe-begone." I had no reason to conceal anything from Barbel. In my younger days he had been of great use to me, and he had a right to know the state of my affairs. I laid the whole case plainly before him. "Look here," he said, when I had finished; "come with me to my room; I have something I would like to say to you there." I followed Barbel to his room. It was at the top of a very dirty and well-worn house, which stood in a narrow and lumpy street, into which few vehicles ever penetrated, except the ash and garbage-carts, and the rickety wagons of the venders of stale vegetables. "This is not exactly a fashionable promenade," said Barbel, as we approached the house, "but in some respects it reminds me of the streets in Italian towns, where the palaces lean over toward each other in such a friendly way." Barbel's room was, to my mind, rather more doleful than the street. It was dark, it was dusty, and cobwebs hung from every corner. The few chairs upon the floor and the books upon a greasy table seemed to be afflicted with some dorsal epidemic, for their backs were either gone or broken. A little bedstead in the corner was covered with a spread made of New York "Heralds" with their edges pasted together. "There is nothing better," said Barbel, noticing my glance toward this novel counterpane, "for a bed-covering than newspapers; they keep you as warm as a blanket, and are much lighter. I used to use `Tribunes,' but they rattled too much." The only part of the room which was well lighted was one end near the solitary window. Here, upon a table with a spliced leg, stood a little grindstone. "At the other end of the room," said Barbel, "is my cook-stove, which you can't see unless I light the candle in the bottle which stands by it. But if you don't care particularly to examine it, I won't go to the expense of lighting up. You might pick up a good many odd pieces of bric-a-brac, around here, if you chose to strike a match and investigate. But I would not advise you to do so. It would pay better to throw the things out of the window than to carry them down-stairs. The particular piece of indoor decoration to which I wish to call your attention is this." And he led me to a little wooden frame which hung against the wall near the window. Behind a dusty piece of glass it held what appeared to be a leaf from a small magazine or journal. "There," said he, "you see a page from the `Grasshopper,' a humorous paper which flourished in this city some half-dozen years ago. I used to write regularly for that paper, as you may remember." "Oh, yes, indeed!" I exclaimed. "And I shall never forget your `Conundrum of the Anvil' which appeared in it. How often have I laughed at that most wonderful conceit, and how often have I put it to my friends!" Barbel gazed at me silently for a moment, and then he pointed to the frame. "That printed page," he said solemnly, "contains the `Conundrum of the Anvil.' I hang it there so that I can see it while I work. That conundrum ruined me. It was the last thing I wrote for the `Grasshopper.' How I ever came to imagine it, I cannot tell. It is one of those things which occur to a man but once in a lifetime. After the wild shout of delight with which the public greeted that conundrum, my subsequent efforts met with hoots of derision. The `Grasshopper' turned its hind legs upon me. I sank from bad to worse,—much worse,—until at last I found myself reduced to my present occupation, which is that of grinding points on pins. By this I procure my bread, coffee, and tobacco, and sometimes potatoes and meat. One day while I was hard at work, an organ-grinder came into the street below. He played the serenade from `Trovatore' and the familiar notes brought back visions of old days and old delights, when the successful writer wore good clothes and sat at operas, when he looked into sweet eyes and talked of Italian airs, when his future appeared all a succession of bright scenery and joyous acts, without any provision for a drop-curtain. And as my ear listened, and my mind wandered in this happy retrospect, my every faculty seemed exalted, and, without any thought upon the matter, I ground points upon my pins so fine, so regular, and so smooth that they would have pierced with ease the leather of a boot, or slipped, without abrasion, among the finest threads of rare old lace. When the organ stopped, and I fell back into my real world of cobwebs and mustiness, I gazed upon the pins I had just ground, and, without a moment's hesitation, I threw them into the street, and reported the lot as spoiled. This cost me a little money, but it saved me my livelihood." After a few moments of silence, Barbel resumed: "I have no more to say to you, my young friend. All I want you to do is to look upon that framed conundrum, then upon this grindstone, and then to go home and reflect. As for me, I have a gross of pins to grind before the sun goes down." I cannot say that my depression of mind was at all relieved by what I had seen and heard. I had lost sight of Barbel for some years, and I had supposed him still floating on the sun-sparkling stream of prosperity where I had last seen him. It was a great shock to me to find him in such a condition of poverty and squalor, and to see a man who had originated the "Conundrum of the Anvil" reduced to the soul-depressing occupation of grinding pin-points. As I walked and thought, the dreadful picture of a totally eclipsed future arose before my mind. The moral of Barbel sank deep into my heart. When I reached home I told my wife the story of my friend Barbel. She listened with a sad and eager interest. "I am afraid," she said, "if our fortunes do not quickly mend, that we shall have to buy two little grindstones. You know I could help you at that sort of thing." For a long time we sat together and talked, and devised many plans for the future. I did not think it necessary yet for me to look out for a pin contract; but I must find some way of making money, or we should starve to death. Of course, the first thing that suggested itself was the possibility of finding some other business. But, apart from the difficulty of immediately obtaining remunerative work in occupations to which I had not been trained, I felt a great and natural reluctance to give up a profession for which I had carefully prepared myself, and which I had adopted as my life-work. It would be very hard for me to lay down my pen forever, and to close the top of my inkstand upon all the bright and happy fancies which I had seen mirrored in its tranquil pool. We talked and pondered the rest of that day and a good deal of the night, but we came to no conclusion as to what it would be best for us to do. The next day I determined to go and call upon the editor of the journal for which, in happier days, before the blight of "His Wife's Deceased Sister" rested upon me, I used most frequently to write, and, having frankly explained my condition to him, to ask his advice. The editor was a good man, and had always been my friend. He listened with great attention to what I told him, and evidently sympathized with me in my trouble. "As we have written to you," he said, "the only reason why we did not accept the manuscripts you sent us was that they would have disappointed the high hopes that the public had formed in regard to you. We have had letter after letter asking when we were going to publish another story like `His Wife's Deceased Sister.' We felt, and we still feel, that it would be wrong to allow you to destroy the fair fabric which you yourself have raised. But," he added, with a kind smile, "I see very plainly that your well-deserved reputation will be of little advantage to you if you should starve at the moment that its genial beams are, so to speak, lighting you up." "Its beams are not genial," I answered. "They have scorched and withered me." "How would you like," said the editor, after a short reflection, "to allow us to publish the stories you have recently written under some other name than your own? That would satisfy us and the public, would put money in your pocket, and would not interfere with your reputation." Joyfully I seized the noble fellow by the hand, and instantly accepted his proposition. "Of course," said I, "a reputation is a very good thing; but no reputation can take the place of food, clothes, and a house to live in, and I gladly agree to sink my over-illumined name into oblivion, and to appear before the public as a new and unknown writer." "I hope that need not be for long," he said, "for I feel sure that you will yet write stories as good as `His Wife's Deceased Sister.'" All the manuscripts I had on hand I now sent to my good friend the editor, and in due and proper order they appeared in his journal under the name of John Darmstadt, which I had selected as a substitute for my own, permanently disabled. I made a similar arrangement with other editors, and John Darmstadt received the credit of everything that proceeded from my pen. Our circumstances now became very comfortable, and occasionally we even allowed ourselves to indulge in little dreams of prosperity. Time passed on very pleasantly. One year, another, and then a little son was born to us. It is often difficult, I believe, for thoughtful persons to decide whether the beginning of their conjugal career, or the earliest weeks in the life of their first-born, be the happiest and proudest period of their existence. For myself I can only say that the same exaltation of mind, the same rarefication of idea and invention, which succeeded upon my wedding day came upon me now. As then, my ecstatic emotions crystallized themselves into a motive fo...