... For three days they had given our part of the line a different and extraordinary resistance, so that for three nights we camped in the same place. A valley was before us, and the infantry had tried to cross again and again, always meeting at a certain place in the hollows an enfilading fire from the forward low hills. We could not get enough men across to charge the emplacements.... We were mid-west of the west wing, it was said; and word came the third day that we were holding up the whole line; that the east was ready to drive through, in fact, was bending forward; that the west was marking time on our account—and here we were keeping the whole Russian invasion from spending the holidays in Budapest.

On that third day I was dispatching from brigade-headquarters to the trenches. The General and his staff stood in a shepherd's house in the midst of a circle of rocks. Waiting there I began to understand that they were having difficulty in forcing the men forward in the later charges. The lines could see their dead of former advances, black and countless upon the valley snow. This was not good for the trenches.

... Now I realized that they were talking of Chautonville, the singer, the master of our folk-songs. We had heard of him along the line—how he had come running home to us out of Germany at the last moment in July—literally pelted forth, changed from an idol into an enemy and losing a priceless engagement-series on the Continent. He had not been the least bewildered, as the story went, rather enjoying it all.... They had monopolized him at the central headquarters, so that we had not heard him sing, but the gossip of it fired the whole line—a baritone voice like a thick starry dusk, having to do with magnolias and the south, and singing of the Russia that was to mean the world. Somehow he had made us gossip to that extent. So I was interested now to hear the name of Chautonville, and that he was coming.

He was to sing us forward again. There was a pang in that, as I craned forward to look at the valley. It was not for our entertainment, but to make us forget our dead, to make us charge the valley again over our dead—it being planned that a remnant might make the crossing and charge the emplacements.... He came—a short barrel of a man and fat. They had kept him well at the Center. He was valuable in the hospitals, it was said.

The least soldierly kind of a man I had seen in many days, save the Brigadier—so white and fat was Chautonville, the top of his head small, his legs short and thick, hands fat and white and tapering, a huge neck and chin with folds of white fat under it—a sort of a perfect bird dressed for present to the Emperor. Chautonville was big-eyed with all this—large, innocent brown eyes—innocent to me, but it was the superb health of the creature, his softness, clearness of skin and eye, that gave the impression to us, so lean and stringy. For his eyes were not innocent—something in them spoiled that. We were worn to buckskin and ivory, while here was a parlor kind of health—so clean in his linen, white folds of linen, about his collar and wrists. His chest was a marvel to look at—here in the field after weeks in the Carpathians. We were all range and angles, but this was a round barrel of a man, as thick as broad, his lips plump and soft, while we for weeks had licked a dry faded line, our faces strange with bone and teeth.

"What is it?" he asked the General.

I thought of a little doctor, called by others after consultation—an extra bit of dexterity required, this being the high-priced man. There was that indoor look of a barber about him, too.

The General explained that a new charge was to be ordered—that three had failed—that the men (while not exactly rebellious) faltered before the valley a fourth time this day—that the failures were costly in men—in short, that the inspiration of Chautonville was required now to sing them and the reserves across.... The Austrians would quickly give way, if the valley were passed.... Then the thousands would flood up the slopes and—Budapest and holidays.

"You want me to sing to them for courage—as it were?" Chautonville questioned.

I had marked his voice. I saw now that he needed all the thickness of throat and bust—that he used it all. I hoped they would not send me away with a message....

"You want me to walk up and down the trenches?"

"Yes, singing."

He puffed his cheeks and blew out a long breath—as if enjoying the effect of the steam in the icy light.

"Are they under fire?" he asked.

"You see them from here—how silent they are! The enemy does not fire until we reach the valley."

So he made no bones about his fears. Nothing of the charge would be required of him. He could withdraw after his inspiration.... Hate was growing within me. God, how I came to hate him—not for his cowardice—that was a novelty, and so freely acknowledged, but because he would sing the men to their death. This was the tame elephant that they use to subdue the wild ones—this the decoy—the little white bastard.

"Very well, I will walk up and down the trenches, singing—" He said it a bit cockily.

I was in no way a revolutionist, yet I vowed some time to get him, alone.... I seemed to see myself in a crowded city street at night—some city full of lights, as far as heaven from now—going in with the crowd under the lights—to hear him sing. There I could get him.... Not a revolutionist, at all; no man in the enlisted ranks more trusted than I; attached for dispatch-work at brigade-headquarters; in all likelihood of appearance so stupid, as to be accepted as a good soldier and nothing more.... Now I remembered how far I was from the lights of any city and crowded streets—here in the desperate winter fighting, our world crazed with punishment, and planning for real fighting in the Spring. The dead of the valley arose before my eyes.... Perhaps within an hour my room would be ready. Still I should be sorry to pass, and leave Chautonville living on.

They beckoned me to his escort. I followed, hoping to see him die presently. This new hope was to watch him die—and not do it with my hands. Yes, I trusted that Chautonville would not come back from the trenches.

The pits stretched out in either direction—bitten into the ground by the most miserable men the light of day uncovered—bitten through the snow and then through a thick floor of frost as hard as cement. I heard their voices—men of my own country—voices as from swooning men—lost to all mercy, ready to die, not as men, but preying, cornered animals—forgotten of God, it seemed, though that was illusion; forgotten of home which was worse to their hearts, and illusion, too. For we could not hold the fact of home. It had proved too hard for us. The bond had snapped. Only death seemed sure.

Chautonville opened his mouth.

It was like sitting by a fire, and falling into a dream.... He sang of our fathers and our boyhood; the good fathers who taught us all they knew, and whipped us with patience and the fear of God. He sang of the savory kitchen and the red fire-lit windows (bins full of corn and boxes high with wood); of the gray winter and the children of our house, the smell of wood-smoke and the low singing of the tea-kettle on the hearth.

And the officers followed him along the trenches, crying to us, "Prepare to charge!"

He sang of the ice breaking in the rivers—the groan of ice rotting in the lakes under the softness of the new life—of the frost coming up out of the fallows, leaving them wet-black and gleaming-rich. He sang of Spring, the spring-plowing, the heaviness of our labor, with spring lust in our veins, and the crude love in our hearts which we could only articulate in kisses and passion.

A roar from us at that—for the forgotten world was rushing home—the world of our maidens and our women.... He sang of the churches—sang of Poland, sang of Finland—of the churches and the long Sabbaths, the ministry of the gentle, irresistible Christ, of the Mary who mothered Him and mothered us all.

We were roaring like school-boys now behind him—the officer-men shouting to us to stand in our places and prepare to charge.

... He was singing of the Spring again—of the warm breath that comes up over the hills and plains—even to our little fields. On he went singing, and I followed like a dog or a child—hundreds of others following—the menacing voices just stabbing in through the song of open weather and the smell of the ground.... My father had sung it to me—the song of the soil, the song from the soil. And the smell of the stables came home, and the ruminating cattle at evening, the warm smell of the milking and the red that shot the dusk.... My mother taking the pails in the purple evening.

And this about us was the soldiery of Russia—the reek of powder, the iron frost, and the dead that moved for our eyes in the dip of the white valley. And each of us saw our field, our low earth-thatched barns, and each of us saw our mothers, and every man's father sang.... We cried to him, when he halted a moment—and our hearts, they were burning in his steps—burning, and not with hatred.

Now he sang of the Springtime—and, my God—of our maidens! On the road from her house, I had sung it—coming home in the night from her house—when, in that great happiness which a man knows but once, I had leaped in the softness of the night, my heart traveling up the moon-ray in the driven flame of her kiss. (She did not sleep that night, nor I, for the husk of the world had been torn away.) ... He sang our maidens back to us—to each man, his maiden—their breasts near, and shaken with weeping. They held out our babes, to lure us home—crying "Come back!" to us....

And some had not seen the latest babe at her breast; and some of us only longed for that which we knew—the little hands and the wondering eyes at her skirts—hands that had helped us over the first rough mysteries of fatherhood.

And now I glimpsed the face of Chautonville in the mass—the open mouth. It was not the face that I had seen. For he had lied to me, as he had lied to the officers, and this was the face of an angel, and so happy. Long had he dreamed and long had he waited for this moment—and happy, he was, as a child on a great white horse. He was not singing us across the red-white valley. He was singing us home.

Then I heard the firing, and saw the officers trying to reach him, but we were there. We laughed and called to him, "Sing us the maidens again!"... "For I have a maiden—" a man said.... "Sing us the good Christ." ... "For I was called to the ministry—" another cried.... "Sing of the Spring and the mothers at the milking—" for we all had our mothers who do not die.... He was singing of our homes in the north country—singing as if he would sing the Austrians home—and the Germans—and would to God that he had!

Then his voice came through to us—not in the great dusky baritone of song, but like a command of the Father: "Come on, men, we are going home!"

... But I could not go. A pistol stopped me. So I lay on my elbow watching them turn back—a little circle of hundreds eager to die for him. All who had heard the singing turned homeward. And the lines came in from the east and from the west and deluged them.... Propped on my elbow, I saw them go down in the deluge of the obedient—watched until the blood went out and blurred the picture. But I saw enough in that darkening—that there was fine sanity in their dying. I wished that I could die with them. It was not slaughter, but martyrdom. It called me through the darkness—and I knew that some man's song would reach all the armies—all men turning home together—each with his vision and unafraid.



LA DERNIERE MOBILISATION[4]

BY W.A. DWIGGINS

From The Fabulist

[4] Copyright, 1915, by W.A. Dwiggins.

On the left the road comes up the hill out of a pool of mist; on the right it loses itself in the shadow of a wood. On the farther side of the highway a hedgerow, dusty in the moonlight, spreads an irregular border of black from the wood to the fog. Behind the hedgerow slender poplar trees, evenly spaced, rule off the distance with inky lines.

A movement stirs the mist at the bottom of the hill. A monotonous rhythm grows in the silence. The mist darkens, and from it there emerges a strange shadowy column that reaches slowly up the hill, moving in silence to the sombre and muffled beating of a drum. As it draws nearer the shadow becomes two files of marching men bearing between them a long dim burden.

The leaders advance into the moonlight. Each two men are carrying between them a pole, and from pole to pole have been slung planks making a continuous platform. But that which is heaped upon the platform is hidden with muddy blankets.

The uniforms of the men—of various sorts, indicating that they are from many commands—are in shreds and spotted with stains of mould and earth; their heads are bound in cloths so that their faces are covered. The single drummer at the side of the column carries slung from his shoulder the shell of a drum. No flag flies from the staff at the column's head, but the staff is held erect.

Slowly the head of the line advances to the shadow of the wood, touches it and is swallowed. The leaders, the bare flag-staff, the drummer disappear; but still from the shade is heard the muffled rhythm of the drum. Still the column comes out of the mist, still it climbs the hill and passes with its endless articulated burden. At last the rearmost couple disengages itself from the mist, ascends, and is swallowed by the shadow. There remain only the moonlight and the dusty hedgerow.

* * * * *

From the left the road runs from Belgium; to the right it crosses into France.

* * * * *

The dead were leaving their resting places in that lost land.



THE CITIZEN[5]

BY JAMES FRANCIS DWYER

From Collier's Weekly

[5] Copyright, 1915, by P.F. Collier and Son, Incorporated. Copyright, 1916, by James Francis Dwyer

The President of the United States was speaking. His audience comprised two thousand foreign-born men who had just been admitted to citizenship. They listened intently, their faces, aglow with the light of a new-born patriotism, upturned to the calm, intellectual face of the first citizen of the country they now claimed as their own.

Here and there among the newly made citizens were wives and children. The women were proud of their men. They looked at them from time to time, their faces showing pride and awe.

One little woman, sitting immediately in front of the President, held the hand of a big, muscular man and stroked it softly. The big man was looking at the speaker with great blue eyes that were the eyes of a dreamer.

The President's words came clear and distinct:

You were drawn across the ocean by some beckoning finger of hope, by some belief, by some vision of a new kind of justice, by some expectation of a better kind of life. You dreamed dreams of this country, and I hope you brought the dreams with you. A man enriches the country to which he brings dreams, and you who have brought them have enriched America.

The big man made a curious choking noise and his wife breathed a soft "Hush!" The giant was strangely affected.

The President continued:

No doubt you have been disappointed in some of us, but remember this, if we have grown at all poor in the ideal, you brought some of it with you. A man does not go out to seek the thing that is not in him. A man does not hope for the thing that he does not believe in, and if some of us have forgotten what America believed in, you at any rate imported in your own hearts a renewal of the belief. Each of you, I am sure, brought a dream, a glorious, shining dream, a dream worth more than gold or silver, and that is the reason that I, for one, make you welcome.

The big man's eyes were fixed. His wife shook him gently, but he did not heed her. He was looking through the presidential rostrum, through the big buildings behind it, looking out over leagues of space to a snow-swept village that huddled on an island in the Beresina, the swift-flowing tributary of the mighty Dnieper, an island that looked like a black bone stuck tight in the maw of the stream.

It was in the little village on the Beresina that the Dream came to Ivan Berloff, Big Ivan of the Bridge.

The Dream came in the spring. All great dreams come in the spring, and the Spring Maiden who brought Big Ivan's Dream was more than ordinarily beautiful. She swept up the Beresina, trailing wondrous draperies of vivid green. Her feet touched the snow-hardened ground and armies of little white and blue flowers sprang up in her footsteps. Soft breezes escorted her, velvety breezes that carried the aromas of the far-off places from which they came, places far to the southward, like Kremenchug and Kerch, and more distant towns beyond the Black Sea whose people were not under the sway of the Great Czar.

The father of Big Ivan, who had fought under Prince Menshikov at Alma fifty-five years before, hobbled out to see the sunbeams eat up the snow hummocks that hid in the shady places, and he told his son it was the most wonderful spring he had ever seen.

"The little breezes are hot and sweet," he said, sniffing hungrily with his face turned toward the south. "I know them, Ivan! I know them! They have the spice odor that I sniffed on the winds that came to us when we lay in the trenches at Balaklava. Praise God for the warmth!"

And that day the Dream came to Big Ivan as he plowed. It was a wonder dream. It sprang into his brain as he walked behind the plow, and for a few minutes he quivered as the big bridge quivers when the Beresina sends her ice squadrons to hammer the arches. It made his heart pound mightily, and his lips and throat became very dry.

Big Ivan stopped at the end of the furrow and tried to discover what had brought the Dream. Where had it come from? Why had it clutched him so suddenly? Was he the only man in the village to whom it had come?

Like his father, he sniffed the sweet-smelling breezes. He thrust his great hands into the sunbeams. He reached down and plucked one of a bunch of white flowers that had sprung up overnight. The Dream was born of the breezes and the sunshine and the spring flowers. It came from them and it had sprung into his mind because he was young and strong. He knew! It couldn't come to his father or Donkov, the tailor, or Poborino, the smith. They were old and weak, and Ivan's dream was one that called for youth and strength.

"Ay, for youth and strength," he muttered as he gripped the plow. "And I have it!"

That evening Big Ivan of the Bridge spoke to his wife, Anna, a little woman, who had a sweet face and a wealth of fair hair.

"Wife, we are going away from here," he said.

"Where are we going, Ivan?" she asked.

"Where do you think, Anna?" he said, looking down at her as she stood by his side.

"To Bobruisk," she murmured.

"No."

"Farther?"

"Ay, a long way farther."

Fear sprang into her soft eyes. Bobruisk was eighty-nine versts away, yet Ivan said they were going farther.

"We—we are not going to Minsk?" she cried.

"Ay, and beyond Minsk!"

"Ivan, tell me!" she grasped. "Tell me where we are going!"

"We are going to America."

"To America?"

"Yes, to America!"

Big Ivan of the Bridge lifted up his voice when he cried out the words "To America," and then a sudden fear sprang upon him as those words dashed through the little window out into the darkness of the village street. Was he mad? America was 8,000 versts away! It was far across the ocean, a place that was only a name to him, a place where he knew no one. He wondered in the strange little silence that followed his words if the crippled son of Poborino, the smith, had heard him. The cripple would jeer at him if the night wind had carried the words to his ear.

Anna remained staring at her big husband for a few minutes, then she sat down quietly at his side. There was a strange look in his big blue eyes, the look of a man to whom has come a vision, the look which came into the eyes of those shepherds of Judea long, long ago.

"What is it, Ivan?" she murmured softly, patting his big hand. "Tell me."

And Big Ivan of the Bridge, slow of tongue, told of the Dream. To no one else would he have told it. Anna understood. She had a way of patting his hands and saying soft things when his tongue could not find words to express his thoughts.

Ivan told how the Dream had come to him as he plowed. He told her how it had sprung upon him, a wonderful dream born of the soft breezes, of the sunshine, of the sweet smell of the upturned sod and of his own strength. "It wouldn't come to weak men," he said, baring an arm that showed great snaky muscles rippling beneath the clear skin. "It is a dream that comes only to those who are strong and those who want—who want something that they haven't got." Then in a lower voice he said: "What is it that we want, Anna?"

The little wife looked out into the darkness with fear-filled eyes. There were spies even there in that little village on the Beresina, and it was dangerous to say words that might be construed into a reflection on the Government. But she answered Ivan. She stooped and whispered one word into his ear, and he slapped his thigh with his big hand.

"Ay," he cried. "That is what we want! You and I and millions like us want it, and over there, Anna, over there we will get it. It is the country where a muzhik is as good as a prince of the blood!"

Anna stood up, took a small earthenware jar from a side shelf, dusted it carefully and placed it upon the mantel. From a knotted cloth about her neck she took a ruble and dropped the coin into the jar. Big Ivan looked at her curiously.

"It is to make legs for your Dream," she explained. "It is many versts to America, and one rides on rubles."

"You are a good wife," he said. "I was afraid that you might laugh at me."

"It is a great dream," she murmured. "Come, we will go to sleep."

The Dream maddened Ivan during the days that followed. It pounded within his brain as he followed the plow. It bred a discontent that made him hate the little village, the swift-flowing Beresina and the gray stretches that ran toward Mogilev. He wanted to be moving, but Anna had said that one rode on rubles, and rubles were hard to find.

And in some mysterious way the village became aware of the secret. Donkov, the tailor, discovered it. Donkov lived in one half of the cottage occupied by Ivan and Anna, and Donkov had long ears. The tailor spread the news, and Poborino, the smith, and Yanansk, the baker, would jeer at Ivan as he passed.

"When are you going to America?" they would ask.

"Soon," Ivan would answer.

"Take us with you!" they would cry in chorus.

"It is no place for cowards," Ivan would answer. "It is a long way, and only brave men can make the journey."

"Are you brave?" the baker screamed one day as he went by.

"I am brave enough to want liberty!" cried Ivan angrily. "I am brave enough to want—"

"Be careful! Be careful!" interrupted the smith. "A long tongue has given many a man a train journey that he never expected."

That night Ivan and Anna counted the rubles in the earthenware pot. The giant looked down at his wife with a gloomy face, but she smiled and patted his hand.

"It is slow work," he said.

"We must be patient," she answered. "You have the Dream."

"Ay," he said. "I have the Dream."

Through the hot, languorous summertime the Dream grew within the brain of Big Ivan. He saw visions in the smoky haze that hung above the Beresina. At times he would stand, hoe in hand, and look toward the west, the wonderful west into which the sun slipped down each evening like a coin dropped from the fingers of the dying day.

Autumn came, and the fretful whining winds that came down from the north chilled the Dream. The winds whispered of the coming of the Snow King, and the river grumbled as it listened. Big Ivan kept out of the way of Poborino, the smith, and Yanansk, the baker. The Dream was still with him, but autumn is a bad time for dreams.

Winter came, and the Dream weakened. It was only the earthenware pot that kept it alive, the pot into which the industrious Anna put every coin that could be spared. Often Big Ivan would stare at the pot as he sat beside the stove. The pot was the umbilical cord which kept the Dream alive.

"You are a good woman, Anna," Ivan would say again and again. "It was you who thought of saving the rubles."

"But it was you who dreamed," she would answer. "Wait for the spring, husband mine. Wait."

It was strange how the spring came to the Beresina that year. It sprang upon the flanks of winter before the Ice King had given the order to retreat into the fastnesses of the north. It swept up the river escorted by a million little breezes, and housewives opened their windows and peered out with surprise upon their faces. A wonderful guest had come to them and found them unprepared.

Big Ivan of the Bridge was fixing a fence in the meadow on the morning the Spring Maiden reached the village. For a little while he was not aware of her arrival. His mind was upon his work, but suddenly he discovered that he was hot, and he took off his overcoat. He turned to hang the coat upon a bush, then he sniffed the air, and a puzzled look came upon his face. He sniffed again, hurriedly, hungrily. He drew in great breaths of it, and his eyes shone with a strange light. It was wonderful air. It brought life to the Dream. It rose up within him, ten times more lusty than on the day it was born, and his limbs trembled as he drew in the hot, scented breezes that breed the Wanderlust and shorten the long trails of the world.

Ivan clutched his coat and ran to the little cottage. He burst through the door, startling Anna, who was busy with her housework.

"The Spring!" he cried. "The Spring!"

He took her arm and dragged her to the door. Standing together they sniffed the sweet breezes. In silence they listened to the song of the river. The Beresina had changed from a whining, fretful tune into a lilting, sweet song that would set the legs of lovers dancing. Anna pointed to a green bud on a bush beside the door.

"It came this minute," she murmured.

"Yes," said Ivan. "The little fairies brought it there to show us that spring has come to stay."

Together they turned and walked to the mantel. Big Ivan took up the earthenware pot, carried it to the table, and spilled its contents upon the well-scrubbed boards. He counted while Anna stood beside him, her fingers clutching his coarse blouse. It was a slow business, because Ivan's big blunt fingers were not used to such work, but it was over at last. He stacked the coins into neat piles, then he straightened himself and turned to the woman at his side.

"It is enough," he said quietly. "We will go at once. If it was not enough, we would have to go because the Dream is upon me and I hate this place."

"As you say," murmured Anna. "The wife of Littin, the butcher, will buy our chairs and our bed. I spoke to her yesterday."

Poborino, the smith; his crippled son; Yanansk, the baker; Dankov, the tailor, and a score of others were out upon the village street on the morning that Big Ivan and Anna set out. They were inclined to jeer at Ivan, but something upon the face of the giant made them afraid. Hand in hand the big man and his wife walked down the street, their faces turned toward Bobruisk, Ivan balancing upon his head a heavy trunk that no other man in the village could have lifted.

At the end of the street a stripling with bright eyes and yellow curls clutched the hand of Ivan and looked into his face.

"I know what is sending you," he cried.

"Ay, you know," said Ivan, looking into the eyes of the other.

"It came to me yesterday," murmured the stripling. "I got it from the breezes. They are free, so are the birds and the little clouds and the river. I wish I could go."

"Keep your dream," said Ivan softly. "Nurse it, for it is the dream of a man."

Anna, who was crying softly, touched the blouse of the boy. "At the back of our cottage, near the bush that bears the red berries, a pot is buried," she said. "Dig it up and take it home with you and when you have a kopeck drop it in. It is a good pot."

The stripling understood. He stooped and kissed the hand of Anna, and Big Ivan patted him upon the back. They were brother dreamers and they understood each other.

Boris Lugan has sung the song of the versts that eat up one's courage as well as the leather of one's shoes.

"Versts! Versts! Scores and scores of them! Versts! Versts! A million or more of them! Dust! Dust! And the devils who play in it Blinding us fools who forever must stay in it."

Big Ivan and Anna faced the long versts to Bobruisk, but they were not afraid of the dust devils. They had the Dream. It made their hearts light and took the weary feeling from their feet. They were on their way. America was a long, long journey, but they had started, and every verst they covered lessened the number that lay between them and the Promised Land.

"I am glad the boy spoke to us," said Anna.

"And I am glad," said Ivan. "Some day he will come and eat with us in America."

They came to Bobruisk. Holding hands, they walked into it late one afternoon. They were eighty-nine versts from the little village on the Beresina, but they were not afraid. The Dream spoke to Ivan, and his big hand held the hand of Anna. The railway ran through Bobruisk, and that evening they stood and looked at the shining rails that went out in the moonlight like silver tongs reaching out for a low-hanging star.

And they came face to face with the Terror that evening, the Terror that had helped the spring breezes and the sunshine to plant the Dream in the brain of Big Ivan.

They were walking down a dark side street when they saw a score of men and women creep from the door of a squat, unpainted building. The little group remained on the sidewalk for a minute as if uncertain about the way they should go, then from the corner of the street came a cry of "Police!" and the twenty pedestrians ran in different directions.

It was no false alarm. Mounted police charged down the dark thoroughfare swinging their swords as they rode at the scurrying men and women who raced for shelter. Big Ivan dragged Anna into a doorway, and toward their hiding place ran a young boy who, like themselves, had no connection with the group and who merely desired to get out of harm's way till the storm was over.

The boy was not quick enough to escape the charge. A trooper pursued him, overtook him before he reached the sidewalk, and knocked him down with a quick stroke given with the flat of his blade. His horse struck the boy with one of his hoofs as the lad stumbled on his face.

Big Ivan growled like an angry bear, and sprang from his hiding place. The trooper's horse had carried him on to the sidewalk, and Ivan seized the bridle and flung the animal on its haunches. The policeman leaned forward to strike at the giant, but Ivan of the Bridge gripped the left leg of the horseman and tore him from his saddle.

The horse galloped off, leaving its rider lying beside the moaning boy who was unlucky enough to be in a street where a score of students were holding a meeting.

Anna dragged Ivan back into the passageway. More police were charging down the street, and their position was a dangerous one.

"Ivan!" she cried, "Ivan! Remember the Dream! America, Ivan! America! Come this way! Quick!"

With strong hands she dragged him down the passage. It opened into a narrow lane, and, holding each other's hands, they hurried toward the place where they had taken lodgings. From far off came screams and hoarse orders, curses and the sound of galloping hoofs. The Terror was abroad.

Big Ivan spoke softly as they entered the little room they had taken. "He had a face like the boy to whom you gave the lucky pot," he said. "Did you notice it in the moonlight when the trooper struck him down?"

"Yes," she answered. "I saw."

They left Bobruisk next morning. They rode away on a great, puffing, snorting train that terrified Anna. The engineer turned a stopcock as they were passing the engine, and Anna screamed while Ivan nearly dropped the big trunk. The engineer grinned, but the giant looked up at him and the grin faded. Ivan of the Bridge was startled by the rush of hot steam, but he was afraid of no man.

The train went roaring by little villages and great pasture stretches. The real journey had begun. They began to love the powerful engine. It was eating up the versts at a tremendous rate. They looked at each other from time to time and smiled like two children.

They came to Minsk, the biggest town they had ever seen. They looked out from the car windows at the miles of wooden buildings, at the big church of St. Catharine, and the woolen mills. Minsk would have frightened them if they hadn't had the Dream. The farther they went from the little village on the Beresina the more courage the Dream gave to them.

On and on went the train, the wheels singing the song of the road. Fellow travelers asked them where they were going. "To America," Ivan would answer.

"To America?" they would cry. "May the little saints guide you. It is a long way, and you will be lonely."

"No, we shall not be lonely," Ivan would say.

"Ha! you are going with friends?"

"No, we have no friends, but we have something that keeps us from being lonely." And when Ivan would make that reply Anna would pat his hand and the questioner would wonder if it was a charm or a holy relic that the bright-eyed couple possessed.

They ran through Vilna, on through flat stretches of Courland to Libau, where they saw the sea. They sat and stared at it for a whole day, talking little but watching it with wide, wondering eyes. And they stared at the great ships that came rocking in from distant ports, their sides gray with the salt from the big combers which they had battled with.

No wonder this America of ours is big. We draw the brave ones from the old lands, the brave ones whose dreams are like the guiding sign that was given to the Israelites of old—a pillar of cloud by day, a pillar of fire by night.

The harbor master spoke to Ivan and Anna as they watched the restless waters.

"Where are you going, children?"

"To America," answered Ivan.

"A long way. Three ships bound for America went down last month."

"Ours will not sink," said Ivan.

"Why?"

"Because I know it will not."

The harbor master looked at the strange blue eyes of the giant, and spoke softly. "You have the eyes of a man who sees things," he said. "There was a Norwegian sailor in the White Queen, who had eyes like yours and he could see death."

"I see life!" said Ivan boldly. "A free life—"

"Hush!" said the harbor master. "Do not speak so loud." He walked swiftly away, but he dropped a ruble into Anna's hand as he passed her by. "For luck," he murmured. "May the little saints look after you on the big waters."

They boarded the ship, and the Dream gave them a courage that surprised them. There were others going aboard, and Ivan and Anna felt that those others were also persons who possessed dreams. She saw the dreams in their eyes. There were Slavs, Poles, Letts, Jews, and Livonians, all bound for the land where dreams come true. They were a little afraid—not two per cent of them had ever seen a ship before—yet their dreams gave them courage.

The emigrant ship was dragged from her pier by a grunting tug and went floundering down the Baltic Sea. Night came down, and the devils who, according to the Esthonian fishermen, live in the bottom of the Baltic, got their shoulders under the stern of the ship and tried to stand her on her head. They whipped up white combers that sprang on her flanks and tried to crush her, and the wind played a devil's lament in her rigging. Anna lay sick in the stuffy women's quarters, and Ivan could not get near her. But he sent her messages. He told her not to mind the sea devils, to think of the Dream, the Great Dream that would become real in the land to which they were bound. Ivan of the Bridge grew to full stature on that first night out from Libau. The battered old craft that carried him slouched before the waves that swept over her decks, but he was not afraid. Down among the million and one smells of the steerage he induced a thin-faced Livonian to play upon a mouth organ, and Big Ivan sang Paleer's "Song of Freedom" in a voice that drowned the creaking of the old vessel's timbers, and made the seasick ones forget their sickness. They sat up in their berths and joined in the chorus, their eyes shining brightly in the half gloom:

"Freedom for serf and for slave, Freedom for all men who crave Their right to be free And who hate to bend knee But to Him who this right to them gave."

It was well that these emigrants had dreams. They wanted them. The sea devils chased the lumbering steamer. They hung to her bows and pulled her for'ard deck under emerald-green rollers. They clung to her stern and hoisted her nose till Big Ivan thought that he could touch the door of heaven by standing on her blunt snout. Miserable, cold, ill, and sleepless, the emigrants crouched in their quarters, and to them Ivan and the thin-faced Livonian sang the "Song of Freedom."

The emigrant ship pounded through the Cattegat, swung southward through the Skagerrack and the bleak North Sea. But the storm pursued her. The big waves snarled and bit at her, and the captain and the chief officer consulted with each other. They decided to run into the Thames, and the harried steamer nosed her way in and anchored off Gravesend.

An examination was made, and the agents decided to transship the emigrants. They were taken to London and thence by train to Liverpool, and Ivan and Anna sat again side by side, holding hands and smiling at each other as the third-class emigrant train from Euston raced down through the green Midland counties to grimy Liverpool.

"You are not afraid?" Ivan would say to her each time she looked at him.

"It is a long way, but the Dream has given me much courage," she said.

"To-day I spoke to a Lett whose brother works in New York City," said the giant. "Do you know how much money he earns each day?"

"How much?" she questioned.

"Three rubles, and he calls the policemen by their first names."

"You will earn five rubles, my Ivan," she murmured. "There is no one as strong as you."

Once again they were herded into the bowels of a big ship that steamed away through the fog banks of the Mersey out into the Irish Sea. There were more dreamers now, nine hundred of them, and Anna and Ivan were more comfortable. And these new emigrants, English, Irish, Scotch, French, and German, knew much concerning America. Ivan was certain that he would earn at least three rubles a day. He was very strong.

On the deck he defeated all comers in a tug of war, and the captain of the ship came up to him and felt his muscles.

"The country that lets men like you get away from it is run badly," he said. "Why did you leave it?"

The interpreter translated what the captain said, and through the interpreter Ivan answered.

"I had a Dream," he said, "a Dream of freedom."

"Good," cried the captain. "Why should a man with muscles like yours have his face ground into the dust?"

The soul of Big Ivan grew during those days. He felt himself a man, a man who was born upright to speak his thoughts without fear.

The ship rolled into Queenstown one bright morning, and Ivan and his nine hundred steerage companions crowded the for'ard deck. A boy in a rowboat threw a line to the deck, and after it had been fastened to a stanchion he came up hand over hand. The emigrants watched him curiously. An old woman sitting in the boat pulled off her shoes, sat in a loop of the rope, and lifted her hand as a signal to her son on deck.

"Hey, fellers," said the boy, "help me pull me muvver up. She wants to sell a few dozen apples, an' they won't let her up the gangway!"

Big Ivan didn't understand the words, but he guessed what the boy wanted. He made one of a half dozen who gripped the rope and started to pull the ancient apple woman to the deck.

They had her halfway up the side when an undersized third officer discovered what they were doing. He called to a steward, and the steward sprang to obey.

"Turn a hose on her!" cried the officer. "Turn a hose on the old woman!"

The steward rushed for the hose. He ran with it to the side of the ship with the intention of squirting the old woman, who was swinging in midair and exhorting the six men who were dragging her to the deck.

"Pull!" she cried. "Sure, I'll give every one of ye a rosy red apple an' me blessing with it."

The steward aimed the muzzle of the hose, and Big Ivan of the Bridge let go of the rope and sprang at him. The fist of the great Russian went out like a battering ram; it struck the steward between the eyes, and he dropped upon the deck. He lay like one dead, the muzzle of the hose wriggling from his limp hands.

The third officer and the interpreter rushed at Big Ivan, who stood erect, his hands clenched.

"Ask the big swine why he did it?" roared the officer.

"Because he is a coward!" cried Ivan. "They wouldn't do that in America!"

"What does the big brute know about America?" cried the officer.

"Tell him I have dreamed of it," shouted Ivan. "Tell him it is in my Dream. Tell him I will kill him if he turns the water upon this old woman."

The apple seller was on deck then, and with the wisdom of the Celt she understood. She put her lean hand upon the great head of the Russian and blessed him in Gaelic. Ivan bowed before her, then as she offered him a rosy apple he led her toward Anna, a great Viking leading a withered old woman who walked with the grace of a duchess.

"Please don't touch him," she cried, turning to the officer. "We have been waiting for your ship for six hours, and we have only five dozen apples to sell. It's a great man he is. Sure he's as big as Finn MacCool."

Some one pulled the steward behind a ventilator and revived him by squirting him with water from the hose which he had tried to turn upon the old woman. The third officer slipped quietly away.

The Atlantic was kind to the ship that carried Ivan and Anna. Through sunny days they sat up on deck and watched the horizon. They wanted to be among those who would get the first glimpse of the wonderland.

They saw it on a morning with sunshine and soft winds. Standing together in the bow, they looked at the smear upon the horizon, and their eyes filled with tears. They forgot the long road to Bobruisk, the rocking journey to Libau, the mad buckjumping boat in whose timbers the sea devils of the Baltic had bored holes. Everything unpleasant was forgotten, because the Dream filled them with a great happiness.

The inspectors at Ellis Island were interested in Ivan. They walked around him and prodded his muscles, and he smiled down upon them good-naturedly.

"A fine animal," said one. "Gee, he's a new white hope! Ask him can he fight?"

An interpreter put the question, and Ivan nodded. "I have fought," he said.

"Gee!" cried the inspector. "Ask him was it for purses or what?"

"For freedom," answered Ivan. "For freedom to stretch my legs and straighten my neck!"

Ivan and Anna left the Government ferryboat at the Battery. They started to walk uptown, making for the East Side, Ivan carrying the big trunk that no other man could lift.

It was a wonderful morning. The city was bathed in warm sunshine, and the well-dressed men and women who crowded the sidewalks made the two immigrants think that it was a festival day. Ivan and Anna stared at each other in amazement. They had never seen such dresses as those worn by the smiling women who passed them by; they had never seen such well-groomed men.

"It is a feast day for certain," said Anna.

"They are dressed like princes and princesses," murmured Ivan. "There are no poor here, Anna. None."

Like two simple children, they walked along the streets of the City of Wonder. What a contrast it was to the gray, stupid towns where the Terror waited to spring upon the cowed people. In Bobruisk, Minsk, Vilna, and Libau the people were sullen and afraid. They walked in dread, but in the City of Wonder beside the glorious Hudson every person seemed happy and contented.

They lost their way, but they walked on, looking at the wonderful shop windows, the roaring elevated trains, and the huge skyscrapers. Hours afterward they found themselves in Fifth Avenue near Thirty-third Street, and there the miracle happened to the two Russian immigrants. It was a big miracle inasmuch as it proved the Dream a truth, a great truth.

Ivan and Anna attempted to cross the avenue, but they became confused in the snarl of traffic. They dodged backward and forward as the stream of automobiles swept by them. Anna screamed, and, in response to her scream, a traffic policeman, resplendent in a new uniform, rushed to her side. He took the arm of Anna and flung up a commanding hand. The charging autos halted. For five blocks north and south they jammed on the brakes when the unexpected interruption occurred, and Big Ivan gasped.

"Don't be flurried, little woman," said the cop. "Sure I can tame 'em by liftin' me hand."

Anna didn't understand what he said, but she knew it was something nice by the manner in which his Irish eyes smiled down upon her. And in front of the waiting automobiles he led her with the same care that he would give to a duchess, while Ivan, carrying the big trunk, followed them, wondering much. Ivan's mind went back to Bobruisk on the night the Terror was abroad.

The policeman led Anna to the sidewalk, patted Ivan good-naturedly upon the shoulder, and then with a sharp whistle unloosed the waiting stream of cars that had been held up so that two Russian immigrants could cross the avenue.

Big Ivan of the Bridge took the trunk from his head and put it on the ground. He reached out his arms and folded Anna in a great embrace. His eyes were wet.

"The Dream is true!" he cried. "Did you see, Anna? We are as good as they! This is the land where a muzhik is as good as a prince of the blood!"

* * * * *

The President was nearing the close of his address. Anna shook Ivan, and Ivan came out of the trance which the President's words had brought upon him. He sat up and listened intently:

We grow great by dreams. All big men are dreamers. They see things in the soft haze of a spring day or in the red fire of a long winter's evening. Some of us let those great dreams die, but others nourish and protect them, nurse them through bad days till they bring them to the sunshine and light which comes always to those who sincerely hope that their dreams will come true.

The President finished. For a moment he stood looking down at the faces turned up to him, and Big Ivan of the Bridge thought that the President smiled at him. Ivan seized Anna's hand and held it tight.

"He knew of my Dream!" he cried. "He knew of it. Did you hear what he said about the dreams of a spring day?"

"Of course he knew," said Anna. "He is the wisest in America, where there are many wise men. Ivan, you are a citizen now."

"And you are a citizen, Anna."

The band started to play "My Country, 'tis of Thee," and Ivan and Anna got to their feet. Standing side by side, holding hands, they joined in with the others who had found after long days of journeying the blessed land where dreams come true.



WHOSE DOG—?[6]

BY FRANCES GREGG

From The Forum

[6] Copyright, 1915, by Mitchell Kennerley.

"Hey—there's ladies here, move on—you!" The tone was authoritative and old John, the village drunkard, crouched away.

"I warn't doin' nothin'," he clutched feebly at the loose hanging rags that clothed him, "only wanted to see same's them. Guess this pier's big enough to hold us all."

"Halloo, John, have a drink?" A grinning boy held a can of salt water toward him.

The quick maudlin tears sprang to the old man's eyes. "Little fellers," he muttered, "little fellers, they oughtn't ter act that way."

"Give him a new necktie, he's gotta go to dinner with the Lodge." A handful of dank sea-weed writhed around the old man's neck. "That's a turtle, that is," the boy went on, the need for imparting information justifying his lapse from ragging the drunkard. "There—swimming round—it's tied to that stake. You orter've seen it at low tide when it was on the beach. It weighs ninety pounds."

"I seen a turtle onct," the drunkard quavered. "It was bigger'n that. En they tied it to a stake—en it swam round—en it swam round—." His sodden brain clutched for something more to say, some marvel with which to hold the interest of the gathered boys. It was good to talk. If only they would let him talk to them. If only they would let him sit on the store porch and smoke and gossip. He wouldn't be the town disgrace—

"Well—go on—what'd't do?"

"Hey you!"—the boys were interrupted by the authoritative voice—"I told you to move on, didn't I—now if I tell you again I'll run you in. D'yer hear? What you boys let that old bum hang around you for anyway. What's he doin' here?"

"Aw, he's fun. He warn't doin' nothin'. He was just awatchin' it swim. It's tied to that post. It don't come up no more."

"Watchin' it swim, eh, was he? A'right. Whose dog is it?" The officer turned and sauntered away.

Sudden horror seized the old man. The liquor seemed drained out of his veins: his brain worked almost quickly. "Whose dog—whose dog? Say!" he darted after the retreating boys. "Say—that ain't no dog—is it—no dog? Tied up like that to drown—say—"

"Aw—keep off—I told you onct—it's a turtle for the Lodge dinner." The boy shook himself free.

The old man stood a moment, shaken. His pulpy brain worked dimly toward the conception of the pain that was consuming him. "Whose dog—" that man had asked—and he hadn't meant to help it—"whose dog!" They could do it—tie up a dog to drown in sight of people—like that—cruel. He saw the policeman coming toward him again. In a sudden frenzy he clutched his tattered garments about him and began to run, to run toward the end of the pier.

The boys raced after him. "What yer gonter do?" they shouted. "What yer gonter do?"

The old man turned and looked at them a moment with twitching features. "I'm gonter die," he said.

"Come on, you fellers—come on—the drunk's gonter dive—come on—he's cryin'!"

There was a splash. A surge of green filth and mud spread and dyed the water. A row of expectant heads leaned over the rail. "Say—he ain't come up." They waited.

The policeman strolled leisurely down in response to their repeated cries. "Who ain't come up? What, him—the drunk?" The officer leaned lethargically over the rail. "What'm I gonter do? Why, leave 'm. He ain't got no folks gonter sit up nights waitin' fer 'm. Now you young ones go along home to your suppers," he indulgently commanded, "and you little fellers, if you want crabs, be 'round here early. By to-morrow this place will be fairly swarmin' with them."



LIFE[7]

BY BEN HECHT

From The Little Review

[7] Copyright, 1915, by Margaret C. Anderson. Copyright, 1916, by Ben Hecht.

The sun was shining in the dirty street.

Old women with shapeless bodies waddled along on their way to market.

Bearded old men who looked like the fathers of Jerusalem walked flatfooted, nodding back and forth.

"The tread of the processional surviving in Halsted Street," thought Moisse, the young dramatist who was moving with the crowd.

Children sprawled in the refuse-laden alleys. One of them ragged and clotted with dirt stood half-dressed on the curbing and urinated into the street.

Wagons rumbled, filled with fruits and iron and rags and vegetables.

Human voices babbled above the noises of the traffic. Moisse watched the lively scene.

"Every day it's the same," he thought; "the same smells, the same noise and people swarming over the pavements. I am the only one in the street whose soul is awake. There's a pretty girl looking at me. She suspects the condition of my soul. Her fingers are dirty. Why doesn't she buy different shoes? She thinks I am lost. In five years she will be fat. In ten years she will waddle with a shawl over her head."

The young dramatist smiled.

"Good God," he thought, "where do they come from? Where are they going? No place to no place. But always moving, shuffling, waddling, crying out. The sun shines on them. The rain pours on them. It burns. It freezes. To-day they are bright with color. To-morrow they are gray with gloom. But they are always the same, always in motion."

The young dramatist stopped on the corner and looking around him spied a figure sitting on the sidewalk, leaning against the wall of a building.

The figure was an old man.

He had a long white beard.

He had his legs tucked under him and an upturned tattered hat rested in his lap.

His thin face was raised and the sun beat down on it, but his eyes were closed.

"Asleep," mused Moisse.

He moved closer to him.

The man's head was covered with long silky white hair that hung down to his neck and hid his ears. It was uncombed. His face in the sun looked like the face of an ascetic, thin, finely veined.

He had a long nose and almost colorless lips and the skin on his cheeks was white. It was drawn tight over his bones, leaving few wrinkles.

An expression of peace rested over him—peace and detachment. Of the noise and babble he heard nothing. His eyes were closed to the crowded frantic street.

He sat, his head back, his face bathed in the sun, smileless and dreaming.

"A beggar," thought Moisse, "asleep, oblivious. Dead. All day he sits in the sun like a saint, immobile. Like one of the old Alexandrian ascetics, like a delicately carved image. He is awake in himself but dead to others. The waves cannot touch him. His thoughts, oh to know his thoughts and his dreams?"

Suddenly the eyes of the young dramatist widened. He was looking at the beggar's long hair that hung to his neck.

"It's moving," he whispered half aloud. He came closer and stood over the old man and gazed intently at the top of his head.

The hair was swaying faintly, each separate fiber moving alone....

It shifted, rose imperceptibly and fell. It quivered and glided....

"Lice," murmured Moisse.

He watched.

Silent and asleep the old man sat with his thin face to the sun and his hair moved.

Vermin swarmed through it, creeping, crawling, tiny and infinitesimal.

Every strand was palpitating, shuddering under their mysterious energy.

At first Moisse could hardly make them out, but his eyes gradually grew accustomed to the sight. And as he watched he saw the hair swell like waves riding over the water, saw it drop and flutter, coil and uncoil of its own accord.

Vermin raised it up, pulled it out, streaming up and down tirelessly in vast armies.

They crawled furiously like dust specks blown thick through the white beard.

They streamed and shifted and were never still.

They moved in and out, from no place to no place, but always moving, frantic and frenzied.

An old woman passed and with a shake of her head dropped two pennies into the upturned hat. Moisse hardly saw her. He saw only the palpitating swarms that were now facing, easily visible, through the gray white hair.

Some ventured down over the white ascetic face, crawling in every direction, traveling around the lips and over the closed eyes, emerging suddenly in thick streams from behind the covered ears and losing themselves under the ever moving beard.

And Moisse, his senses strained, thought he heard a noise—a faint crunching noise.

He listened.

The noise seemed to grow louder. He began to itch but he remained bending over the head. He could hear them, like a faraway murmur, a purring, uncertain sound.

"They're shouting and groaning, crying out, weeping and laughing," he mused. "It is life ... life...."

He looked up and down the crowded burning street with its frantic crowd, and smiled.

"Life," he repeated....

He walked away. Before him floated the hair of the beggar moving as if stirred by a slow wind, and he itched.

"But who was the old man?" he thought.

A young woman, plump and smiling, jostled him. He felt her soft hip pressing against him for a moment.

A child running barefoot through the street brushed against his legs. He felt its sticky fingers seize him for an instant and then the child was gone. On he walked.

Three young men confronted him for a second time. He passed between two of them, squeezed by their shoulders.

A shapeless old woman bumped him with her back as she shuffled past.

Two children dodged in and out screaming and seized his arm to turn on.

The young dramatist stopped and remained standing still, looking about him.

Then he laughed.

"Life," he murmured again; and

"I am the old man," he added, "I ... I...."



T.B.[8]

BY FANNIE HURST

From The Saturday Evening Post

[8] Copyright, 1915, by The Curtis Publishing Company. Copyright, 1916, by Fannie Hurst.

The figurative underworld of a great city has no ventilation, housing or lighting problems. Rooks and crooks who live in the putrid air of crime are not denied the light of day, even though they loathe it. Cadets, social skunks, whose carnivorous eyes love darkness, walk in God's sunshine and breathe God's air. Scarlet women turn over in wide beds and draw closer velvet curtains to shut out the morning. Gamblers curse the dawn.

But what of the literal underworld of the great city? What of the babes who cry in fetid cellars for the light and are denied it? What of the Subway trackwalker, purblind from gloom; the coalstoker, whose fiery tomb is the boiler room of a skyscraper; sweatshop workers, a flight below the sidewalk level, whose faces are the color of dead Chinese; six-dollar-a-week salesgirls in the arc-lighted subcellars of six-million-dollar corporations?

This is the literal underworld of the great city, and its sunless streets run literal blood—the blood of the babes who cried in vain; the blood from the lungs of the sweatshop workers whose faces are the color of dead Chinese; the blood from the cheeks of the six-dollar-a-week salesgirls in the arc-lighted subcellars. But these are your problems and my problems and the problems of the men who have found the strength or the fear not to die rich. The babe's mother, who had never known else, could not know that her cellar was fetid; she only cried out in her anguish and hated vaguely in her heart.

Sara Juke, in the bargain basement of the Titanic Department Store, did not know that lint from white goods clogs the lungs, and that the air she breathed was putrefied as from a noxious swamp. Sometimes a pain, sharp as a hatpin, entered between her shoulder blades. But what of that? When the heart is young the heart is bold, and Sara could laugh upward with the musical glee of a bird.

There were no seasons, except the spring and fall openings and semi-annual clearing sales, in the bargain basement of the Titanic store. On a morning when the white-goods counter was placing long-sleeve, high-neck nightgowns in its bargain bins, and knit underwear was supplanting the reduced muslins, Sara Juke drew her little pink knitted jacket closer about her narrow shoulders and shivered—shivered, but smiled. "Br-r-r! October never used to get under my skin like this."

Hattie Krakow, roommate and co-worker, shrugged her bony shoulders and laughed; but not with the upward glee of a bird—downward rather, until it died in a croak in her throat. But then Hattie Krakow was ten years older than Sara Juke; and ten years in the arc-lighted subcellar of the Titanic Department Store can do much to muffle the ring in a laugh.

"Gee, you're as funny as your own funeral—you are! You keep up the express pace you're going and there won't be another October left on your calendar."

"That's right; cheer me up a bit, dearie. What's the latest style in undertaking?"

"You'll know sooner 'n me if—"

"Aw, Hat, cut it! Wasn't I home in bed last night by eleven?"

"I ain't much on higher mathematics."

"Sure I was. I had to shove you over on your side of the bed; that's how hard you was sleeping."

"A girl can't gad round dancing and rough-housing every night and work eight hours on her feet, and put her lunch money on her back, and not pay up for it. I've seen too many blue-eyed dolls like you get broken. I—"

"Amen!"

Sara Juke rolled her blue eyes upward, and they were full of points of light, as though stars were shining in them; and always her lips trembled to laugh.

"There ain't nothing funny, Sara."

"Oh, Hat, with you like a owl!"

"If I was a girl and had a cough like I've seen enough in this basement get; if I was a girl and my skirtband was getting two inches too big, and I had to lie on my left side to breathe right, and my nightie was all soaked round the neck when I got up in the morning—I wouldn't just laugh and laugh. I'd cry a little—I would."

"That's right, Hat; step on the joy bug like it was a spider. Squash it!"

"I wouldn't just laugh and laugh, and put my lunch money on my back instead of eggs and milk inside of me, and run round all hours to dance halls with every sporty Charley-boy that comes along."

"You leave him alone! You just cut that! Don't you begin on him!"

"I wouldn't get overheated, and not sleep enough; and—"

"For Pete's sake, Hat! Hire a hall!"

"I should worry! It ain't my grave you're digging."

"Aw, Hat."

"I ain't got your dolly face and your dolly ways with the boys; but I got enough sense to live along decent."

"You're right pretty, I think, Hat."

"Oh, I could daub up, too, and gad with some of that fast gang if I didn't know it don't lead nowheres. It ain't no cinch for a girl to keep her health down here, even when she does live along decent like me, eating regular and sleeping regular, and spending quiet evenings in the room, washing-out and mending and pressing and all. It ain't no cinch even then, lemme tell you. Do you think I'd have ever asked a gay bird like you to come over and room with me if I hadn't seen you begin to fade like a piece of calico, just like my sister Lizzie did?"

"I'm taking that iron-tonic stuff like you want and spoiling my teeth—ain't I, Hat? I know you been swell to me and all."

"You ain't going to let up until somebody whispers T.B. in your shell-pink ear; and maybe them two letters will bring you to your senses."

"T.B.?"

"Yes—T.B."

"Who's he?"

"Gee, you're as smart as a fish on a hook! You oughtta bought a velvet dunce cap with your lunch money instead of that brown poke bonnet. T.B. was what I said—T.B."

"Honest, Hat, I dunno—"

"For heaven's sake! Too Berculosis is the way the exhibits and the newspapers say it. L-u-n-g-s is another way to spell it. T.B."

"Too Berculosis!" Sara Juke's hand flew to her little breast. "Too Berculosis! Hat, you—you don't—"

"Sure I don't. I ain't saying it's that—only I wanna scare you up a little. I ain't saying it's that; but a girl that lets a cold hang on like you do and runs round half the night, and don't eat right, can make friends with almost anything, from measles to T.B."

Stars came out once more in Sara Juke's eyes, and her lips warmed and curved to their smile. She moistened with her forefinger a yellow spit curl that lay like a caress on her cheek. "Gee, you oughtta be writing scare heads for the Evening Gazette!"

Hattie Krakow ran her hand over her smooth salt-and-pepper hair and sold a marked-down flannellette petticoat.

"I can't throw no scare into you so long as you got him on your mind. Oh, lud! There he starts now—that quickstep dance again!"

A quick red ran up into Miss Juke's hair and she inclined forward in the attitude of listening as the lively air continued.

"The silly! Honest, ain't he the silly? He said he was going to play that for me the first thing this morning. We dance it so swell together and all. Aw, I thought he'd forget. Ain't he the silly—remembering me?"

The red flowed persistently higher.

"Silly ain't no name for him, with his square, Charley-boy face and polished hair; and—"

"You let him alone, Hattie Krakow! What's it to you if—"

"Nothing—except I always say October is my unlucky month, because it was just a year ago that they moved him and the sheet music down to the basement. Honest, I'm going to buy me a pair of earmuffs! I'd hate to tell you how unpopular popular music is with me."

"Huh! You couldn't play on a side comb, much less play on the piano like Charley does. If I didn't have no more brains than some people—honest, I'd go out and kill a calf for some!"

"You oughtta talk! A girl that ain't got no more brains than to gad round every night and every Sunday in foul-smelling, low-ceilinged dance halls, and wear paper-soled slippers when she oughtta be wearing galoshes, and cheesecloth waists that ain't even decent instead of wool undershirts! You oughtta talk about brains—you and Charley Chubb!"

"Yes, I oughtta talk! If you don't like my doings, Hattie Krakow, there ain't no law says we gotta room together. I been shifting for myself ever since I was cash-girl down at Tracy's, and I ain't going to begin being bossed now. If you don't like my keeping steady with Charley Chubb—if you don't like his sheet-music playing—you gotta lump it! I'm a good girl, I am; and if you got anything to in-sinuate; if—"

"Sara Juke, ain't you ashamed!"

"I'm a good girl, I am; and there ain't nobody can cast a reflection on—on—"

Tears trembled in her voice and she coughed from the deep recesses of her chest, and turned her head away, so that her profile was quivering and her throat swelling with sobs.

"I—I'm a good girl, I am."

"Aw, Sara, don't I know it? Ain't that just where the rub comes? Don't I know it? If you wasn't a good girl would I be caring?"

"I'm a good girl, I am!"

"It's your health, Sara, I'm kicking about. You're getting as pale and skinny as a goop; and for a month already you've been coughing, and never a single evening home to stick your feet in hot water and a mustard plaster on your chest."

"Didn't I take the iron tonic and spoil my teeth?"

"My sister Lizzie—that's the way she started, Sara; right down here in this basement. There never was a prettier little queen down here. Ask any of the old girls. Like you in looks and all; full of vim too. That's the way she started, Sara. She wouldn't get out in the country on Sundays or get any air in her lungs walking with me evenings. She was all for dance halls, too, Sara. She—she—Ain't I told you about her over and over again? Ain't I?"

"Sh-h-h! Don't cry, Hat. Yes, yes; I know. She was a swell little kid; all the old girls say so. Sh-h-h!"

"The—the night she died I—I died too; I—"

"Sh-h-h, dearie!"

"I ain't crying, only—only I can't help remembering."

"Listen! That's the new hit Charley's playin'—Up to Snuff! Say, ain't that got some little swing to it? Dum-dum-tum-tee-tum-m-m! Some little quick-step, ain't it? How that boy reads off by sight! Looka, will you? They got them left-over ribbed undervests we sold last season for forty-nine cents out on the grab table for seventy-four. Looka the mob fighting for 'em! Dum-dum-tum-tee-tum-m-m!"

The day's tide came in. Slowly at first, but toward noon surging through aisles and round bins, upstairs and downstairs—in, round and out. Voices straining to be heard; feet shuffling in an agglomeration of discords—the indescribable roar of humanity, which is like an army that approaches but never arrives. And above it all, insistent as a bugle note, reaching the basement's breadth, from hardware to candy, from human hair to white goods, the tinny voice of the piano—gay, rollicking.

At five o'clock the patch of daylight above the red-lighted exit door turned taupe, as though a gray curtain had been flung across it; and the girls, with shooting pains in their limbs, braced themselves for the last hour. Shoppers, their bags bulging and their shawls awry, fumbled in bins for a last remnant; hatless, sway-backed women, carrying children, fought for mill ends. Sara Juke stood first on one foot and then on the other to alternate the strain; her hands were hot and dry as flannel, but her cheeks were pink—very pink.

At six o'clock Hattie Krakow untied her black alpaca apron, pinned a hat as nondescript as a bird's nest at an unrakish angle and slid into a warm gray jacket.

"Ready, Sara?"

"Yes, Hat." But her voice came vaguely, as through fog.

"I'm going to fix us some stew to-night with them onions Lettie brought up to the room when she moved—mutton stew, with a broth for you, Sara."

"Yes, Hat."

Sara's eyes darted out over the emptying aisles; and, even as she pinned on her velveteen poke bonnet at a too-swagger angle, and fluffed out a few carefully provided curls across her brow, she kept watch and, with obvious subterfuge, slid into her little unlined silk coat with a deliberation not her own. "Coming, Sara?"

"Wait, can't you? My—my hat ain't on right."

"Come on; you're dolled up enough."

"My—my gloves—I—I forgot 'em. You—you can go on, Hat." And she must burrow back beneath the counter.

Miss Krakow let out a snort, as fiery with scorn as though flames were curling on her lips.

"Hanging round to see whether he's coming, ain't you? To think they shot Lincoln and let him live! Before I'd run after any man living, much less the excuse of a man like him! A shiny-haired, square-faced little rat like him!"

"I ain't neither, waiting. I guess I got a right to find my gloves. I—I guess I gotta right. He's as good as you are, and better. I—I guess I gotta right." But the raspberry red of confusion dyed her face.

"No, you ain't waiting! No, no; you ain't waiting," mimicked Miss Krakow, and her voice was like autumn leaves that crackle underfoot. "Well, then, if you ain't waiting here he comes now. I dare you to come on home with me now, like you ought to."

"I—you go on! I gotta tell him something. I guess I'm my own boss. I got to tell him something."

Miss Krakow folded her well-worn hand bag under one arm and fastened her black cotton gloves.

"Pf-f-f! What's the use of wasting breath!"

She slipped into the flux of the aisle, and the tide swallowed her and carried her out into the bigger tide of the street and the swifter tide of the city—a flower on the current, her blush withered under the arc-light substitution for sunlight, the petals of her youth thrown to the muddy corners of the city streets.

Sara Juke breathed inward, and under her cheaply pretentious lace blouse a heart, as rebellious as the pink in her cheeks and the stars in her eyes, beat a rapid fantasia; and, try as she would, her lips would quiver into a smile.

"Hello, Charley!"

"Hello yourself, Sweetness!" And, draping himself across the white-goods counter in an attitude as intricate as the letter S, behold Mr. Charley Chubb! Sleek, soap-scented, slim—a satire on the satyr and the haberdasher's latest dash. "Hello, Sweetness!"

"How are you, Charley?"

"Here, gimme your little hand. Shake."

She placed her palm in his, quivering.

You of the classes, peering through lorgnettes into the strange world of the masses, spare that shrug. True, when Charley Chubb's hand closed over Sara Juke's she experienced a flash of goose flesh; but, you of the classes, what of the Van Ness ball last night? Your gown was low, so that your neck rose out from it like white ivory. The conservatory, where trained clematis vines met over your heads, was like a bower of stars; music; his hand, the white glove off, over yours; the suffocating sweetness of clematis blossoms; a fountain throwing fine spray; your neck white as ivory, and—what of the Van Ness ball last night?

Only Sara Juke played her poor little game frankly and the cards of her heart lay on the counter.

"Charley!" Her voice lay in a veil.

"Was you getting sore, Sweetness?"

"All day you didn't come over."

"Couldn't, Sweetness. Did you hear me let up on the new hit for a minute?"

"It's swell, though, Charley; all the girls was humming it. You play it like lightning too."

"It must have been written for you, Sweetness. That's what you are, Up to Snuff, eh, Queenie?" He leaned closer, and above his tall, narrow collar dull red flowed beneath the sallow, and his long white teeth and slick-brushed hair shone in the arc light. "Eh, Queenie?"

"I gotta go now, Charley. Hattie's waiting home for me." She attempted to pass him and to slip into the outgoing stream of the store, but with a hesitation that belied her. "I—I gotta go, Charley."

He laughed, clapped his hat slightly askew on his polished hair and slid his arm into hers.

"Forget it! But I had you going—didn't I, sister? Thought I'd forgot about to-night, didn't you? and didn't have the nerve to pipe up. Like fun I forgot!"

"I didn't know, Charley; you not coming over all day and all. I thought maybe your friend didn't give you the tickets like he promised."

"Didn't he? Look! See if he didn't!"

He produced a square of pink cardboard from his waistcoat pocket and she read it, with a sudden lightness underlying her voice:

HIBERNIAN MASQUE AND HOP

Supper Wardrobe Free Admit Gent and Lady Fifty Cents

"Oh, gee, Charley! And me such a sight in this old waist and all. I didn't know there was supper too."

"Sure! Hurry, Sweetness, and we'll catch a Sixth Avenue car. We wanna get in on it while the tamales are hot."

And she must grasp his arm closer and worm through the sidewalk crush, and straighten her velveteen poke so that the curls lay pat; and once or twice she coughed, with the hollow resonance of a chain drawn upward from a deep well.

"Gee, I bet there'll be a jam!"

"Sure! There's some live crowd down there."

They were in the street car, swaying, swinging, clutching; hemmed in by frantic, home-going New York, nose to nose, eye to eye, tooth to tooth. Round Sara Juke's slim waist lay Charley Chubb's saving arm, and with each lurch they laughed immoderately, except when she coughed.

"Gee, ain't it the limit? It's a wonder they wouldn't open a window in this car!"

"Nix on that. Whatta you wanna do—freeze a fellow out?"

Her eyes would betray her.

"Any old time I could freeze you, Charley."

"Honest?"

"You're the one that freezes me all the time. You're the one that keeps me guessing and guessing where I stand with you."

A sudden lurch and he caught her as she swayed.

"Come, Sweetness, this is our corner. Quit your coughing there, hon; this ain't no T.B. hop we 're going to."

"No what?"

"Come along; hurry! Look at the crowd already."

"This ain't no—what did you say, Charley?"

But they were pushing, shoving, worming into the great lighted entrance of the hall. More lurching, crowding, jamming. "I'll meet you inside, kiddo, in five minutes. Pick out a red domino; red's my color."

"A red one? Gee! Looka; mine's got black pompons on it. Five minutes, Charley; five minutes!"

Flags of all nations and all sizes made a galaxy of the Sixth Avenue hall. An orchestra played beneath an arch of them. Supper, consisting of three-inch-thick sandwiches, tamales, steaming and smelling in their buckets, bottles of beer and soda water, was spread on a long picnic table running the entire length of the balcony.

The main floor, big as an armory, airless as a tomb, swarmed with dancers.

After supper a red sateen Pierrette, quivering, teeth flashing beneath a saucy half mask, bowed to a sateen Pierrot, whose face was as slim as a satyr's and whose smile was as upturned as the eye slits in his mask.

"Gee, Charley, you look just like a devil in that costume—all red, and your mouth squinted like that!"

"And you look just like a little red cherry, ready to bust."

And they were off in the whirl of the dance, except that the close-packed dancers hemmed them in a swaying mob; and once she fell back against his shoulder, faint.

"Ain't there a—a upstairs somewheres, Charley, where they got air? All this jam and no windows open! Gee ain't it hot? Let's go outside where it's cool—let's."

"There you go again! No wonder you got a cold on you—always wanting air on you! Come, Sweetness; this ain't hot. Here, lemme show you the dip I get the girls crazy with. One, two, three—dip! One, two, three—dip! Ugh!"

"Gee, ain't it a jam, though?"

"One, two, three!"

"That's swell, Charley! Quit! You mustn't squeeze me like that till—till you've asked me to be engaged, Charley. We—we ain't engaged yet, are we, Charley?"

"Aw, what difference does that make? You girls make me sick—always wanting to know that."

"It—it makes a lot of difference, Charley."

"There you go on that Amen talk again. All right, then; I won't squeeze you no more, Stingy!"

Her step was suddenly less elastic and she lagged on his arm.

"I—I never said you, couldn't, Charley. Gee, ain't you a great one to get mad so quick. Touchy! I only said not till we're engaged."

He skirted the crowd, guiding her skillfully.

"Stingy! Stingy! I know 'em that ain't so stingy as you."

"Charley!"

"What?"

"Aw, I'm ashamed to say it."

"Listen! They're playin' the new one—Up to Snuff! Faster! Don't make me drag you, kiddo. Faster!"

They were suddenly in the center of the maze, as tight-packed as though an army had conspired to close round them. She coughed and, in her effort at repression coughed again.

"Charley, I—honest, I—I'm going to keel. I—I can't stand it packed in here—like this."

She leaned to him, with the color drained out of her face; and the crowd of black and pink and red dominos, gnomes gone mad, pressed, batted, surged.

"Look out, Sweetness! Don't give out in here! They'll crush us out. Ain't you got no nerve? Here; don't give out now! Gee! Watch out, there! The lady's sick. Watch out! Here; now sit down a minute and get your wind."

He pressed her shoulders downward and she dropped whitely on a little camp chair hidden underneath the balcony.

"I gotta get out, Charley; I gotta get out and get air. I feel like I'm going to suffocate in here. It's this old cough takes the breath out of me."

In the foyer she revived a bit and drank gratefully of the water he brought; but the color remained out of her cheeks and the cough would rack her.

"I guess I oughtta go home, Charley."

"Aw, cut it! You ain't the only girl I've seen give out. Sit here and rest a minute and you'll be all right. Great Scott! I came here to dance."

She rose to her feet a bit unsteadily, but smiling.

"Fussy! Who said I didn't?"

"That's more like it."

And they were off again to the lilt of the music but, struggle as she would, the coughing and the dizziness and the heat took hold of her and at the close of the dance she fainted quietly against his shoulder.

And when she finally caught at consciousness, as it passed and repassed her befuddled mind, she was on the floor of the cloak room, her head pillowed on the skirt of a pink domino.

"There, there, dearie; your young man's waiting outside to take you home."

"I—I'm all right!"

"Certainly you are. The heat done it. Here; lemme help you out of your domino."

"It was the heat done it."

"There; you're all right now. I gotta get back to my dance. You fainted right up against him, dearie; and I seen you keel."

"Gee, ain't I the limit!"

"Here; lemme help you on with your coat. Right there he is, waiting."

In the foyer Sara Juke met Charley Chubb shamefacedly.

"I spoilt everything, didn't I?"

"I guess you couldn't help it. All right?"

"Yes, Charley." She met the air gratefully, worming her little hand into the curve of his elbow. "Gee! I feel fine now."

"Come; here's a car."

"Let's walk up Sixth Avenue, Charley; the air feels fine."

"All right."

"You ain't sore, are you, Charley? It was so jammed dancing, anyway."

"I ain't sore."

"It was the heat done it."

"Yeh."

"Honest, it's grand to be outdoors, ain't it? The stars and—and chilliness and—and—all!"

"Listen to the garden stuff!"

"Silly!"

She squeezed his arm and drew back, shamefaced. His spirits rose.

"You're a right loving little thing when you wanna be."

They laughed in duet; and before the plate-glass window of a furniture emporium they must stop and regard the monthly-payment display, designed to represent the $49.50 completely furnished sitting room, parlor and dining room of the home felicitous—a golden-oak room, with an incandescent fire glowing right merrily in the grate; a lamp redly diffusing the light of home; a plaster-of-Paris Cupid shooting a dart from the mantelpiece; and, last, two figures of connubial bliss, smiling and waxen, in rocking chairs, their waxen infant, block-building on the floor, completing the picture.

"Gee, it looks as snug as a bug in a rug! Looka what it says too: 'You Get the Girl; We'll Do the Rest!' Some little advertisement, ain't it? I got the girl all right—ain't I, hon?"

"Aw!"

"Look at the papa—slippers and all! And the kid! Look at the kid, Sweetness."

Her confusion nearly choked her and her rapid breath clouded the window glass.

"Yeh, Charley! Looka the little kid! Ain't he cute?"

An Elevated train crashed over their heads, drowning out her words; but her smile, which flickered like light over her face, persisted and her arm crept back into his. At each shop window they must pause, but the glow of the first one remained with her.

"Look, Sweetness—Red Swag, the Train King! Performance going on now. Wanna go in?"

"Not to-night. Let's stay outside."

"Anything your little heart de-sires."

They bought hot chestnuts, city harbingers of autumn, from a vender and let fall the hulls as they walked. They drank strawberry ice-cream soda, pink with foam. Her resuscitation was complete; his spirits did not wane.

"I gotta like a queen pretty much not to get sore at a busted evening like this. It's a good thing the ticket didn't cost me nothing."

"Ain't it, though?"

"Look! What's in there—a exhibit?"

They paused before a white-lighted store front and he read laboriously:

FREE TUBERCULOSIS EXHIBIT

TO EDUCATE PEOPLE HOW TO PREVENT CONSUMPTION

"Oh!" She dragged at his arm.

"Aw, come on, Sweetness; nothing but a lot of T.B.'s."

"Let's—let's go in. See, it's free. Looka—it's all lit up and all; see, pictures and all."

"Say, ain't I enough of a dead one without dragging me in there? Free! I bet they pinch you for something before you get out."

"Come on, Charley; I never did see a place like this."

"Aw, they're all over town."

He followed her in surlily enough and then, with a morbid interest, round a room hung with photographs of victims in various emaciated stages of the white plague.

"Oh! Oh! Ain't it awful? Ain't it awful? Read them symptoms. Almost with nothing it—it begins. Night sweats and losing weight and coughing, and—oh—"

"Look! Little kids and all! Thin as matches."

"Aw, see, a poor little shaver like that! Look! It says sleeping in that dirty room without a window gave it to him. Ugh, that old man! 'Self-indulgence and intemperance.' Looka that girl in the tobacco factory. Oh! Oh! Ain't it awful! Dirty shops and stores, it says; dirty saloons and dance halls—weak lungs can't stand them."

"Let's get out of here."

"Aw, look! How pretty she is in this first picture; and look at her here—nothing but a stack of bones on a stretcher. Aw! Aw!"

"Come on!"

"Courage is very important, it says. Consumptives can be helped and many are cured. Courage is—"

"Come on; let's get out of this dump. Say, it's a swell night for a funeral."

She grasped at his coat sleeve, pinching the flesh with it, and he drew away half angrily.

"Come on, I said."

"All right!"

A thin line filed past them, grim-faced, silent. At the far end of the room, statistics in red inch-high type ran columnwise down the wall's length. She read, with a gasp in her throat:

1—Ten thousand people died from tuberculosis in the city of New York last year.

2—Two hundred thousand people died from tuberculosis in the United States last year.

3—Records of the Health Department show that there are 31,631 living cases of tuberculosis in the city of New York.

4—Every three minutes some one in the United States dies from consumption.

"Oh, Charley, ain't it awful!"

At a desk a young man, with skin as pink as though a strong wind had whipped it into color, distributed pamphlets to the outgoing visitors—a thin streamlet of them; some cautious, some curious, some afraid.

"Come on; let's hurry out of here, Sweetness. My lung's hurting this minute."

They hurried past the desk; but the young man with the clear pink skin reached over the heads of an intervening group, waving a long printed booklet toward the pair.

"Circular, missy?"

Sara Juke straightened, with every nerve in her body twanging like a plucked violin string; and her eyes met the clear eyes of the young clerk.

Like a doll automaton she accepted the booklet from him; like a doll automaton she followed Charley Chubb out into the street, and her limbs were trembling so she could scarcely stand.

"Gotta hand it to you, Sweetness. Even made a hit on the fellow in the lung shop! He didn't hand me out no literachure. Some little hit!"

"I gotta go home now, Charley."

"It's only ten."

"I better go, Charley. It ain't Saturday night."

At the stoop of her rooming house they lingered. A honey-colored moon hung like a lantern over the block-long row of shabby-fronted houses. On her steps and to her fermenting fancy the shadow of an ash can sprawled like a prostrate human being.

"Charley!"

She clutched his arm.

"Whatcha scared about, Sweetness?"

"Oh, Charley, I—I feel creepy to-night."

"That visit to the Morgue was enough to give anybody the blind staggers."

Her pamphlet was tight in her hand.

"You ain't mad at me, Charley?"

He stroked her arm, and the taste of tears found its way to her mouth.

"I'm feeling so sillylike to-night, Charley."

"You're all in, kiddo."

In the shadow he kissed her.

"Charley, you—you mustn't, unless we're—engaged." But she could not find the strength to unfold herself from his arms. "You mustn't, Charley!"

"Great little girl you are, Sweetness—one great little girl!"

"Aw, Charley!"

"And, to show you that I like you, I'm going to make up for this to-morrow night. A real little Saturday-night blow! And don't forget Sunday afternoon—two o'clock for us, down at Crissey's Hall. Two o'clock."