Part 9

The standard of honor there was, in a certain way, very high among the boys; they would have despised a thief as he deserved, and I cannot remember one of them who might not have been safely trusted. None of them would have taken an apple out of a market-wagon, or stolen a melon from a farmer who came to town with it; but they would all have thought it fun, if not right, to rob an orchard or hook a watermelon out of a patch. This would have been a foray into the enemy's country, and the fruit of the adventure would have been the same as the plunder of a city, or the capture of a vessel belonging to him on the high seas. In the same way, if one of the boys had seen a circus man drop a quarter, he would have hurried to give it back to him, but he would only have been proud to hook into the circus man's show, and the other fellows would have been proud of his exploit, too, as something that did honor to them all. As a person who enclosed bounds and forbade trespass, the circus man constituted himself the enemy of every boy who respected himself, and challenged him to practise any sort of strategy. There was not a boy in the crowd that my boy went with who would have been allowed to hook into a circus by his parents; yet hooking in was an ideal that was cherished among them, that was talked of, and that was even sometimes attempted, though not often. Once, when a fellow really hooked in, and joined the crowd that had ignobly paid, one of the fellows could not stand it. He asked him just how and where he got in, and then he went to the door, and got back his money from the doorkeeper upon the plea that he did not feel well; and in five or ten minutes he was back among the boys, a hero of such moral grandeur as would be hard to describe. Not one of the fellows saw him as he really was--a little lying, thievish scoundrel. Not even my boy saw him so, though he had on some other point of personal honesty the most fantastic scruples.

The boys liked to be at the circus early so as to make sure of the grand entry of the performers into the ring, where they caracoled round on horseback, and gave a delicious foretaste of the wonders to come. The fellows were united in this, but upon other matters feeling varied--some liked tumbling best; some the slack-rope; some bareback-riding; some the feats of tossing knives and balls and catching them. There never was more than one ring in those days; and you were not tempted to break your neck and set your eyes forever askew, by trying to watch all the things that went on at once in two or three rings.

The boys did not miss the smallest feats of any performance, and they enjoyed them every one, not equally, but fully. They had their preferences, of course, as I have hinted; and one of the most popular acts was that where a horse has been trained to misbehave, so that nobody can mount him; and after the actors have tried him, the ring-master turns to the audience, and asks if some gentleman among them wants to try it. Nobody stirs, till at last a tipsy country-jake is seen making his way down from one of the top seats toward the ring. He can hardly walk, he is so drunk, and the clown has to help him across the ring-board, and even then he trips and rolls over on the saw-dust, and has to be pulled to his feet. When they bring him up to the horse, he falls against it; and the little fellows think he will certainly get killed. But the big boys tell the little fellows to shut up and watch out. The ring-master and the clown manage to get the country-jake on to the broad platform on the horse's back, and then the ring-master cracks his whip, and the two supes who have been holding the horse's head let go, and the horse begins cantering round the ring. The little fellows are just sure the country-jake is going to fall off, he reels and totters so; but the big boys tell them to keep watching out; and pretty soon the country-jake begins to straighten up. He begins to unbutton his long gray overcoat, and then he takes it off and throws it into the ring, where one of the supes catches it. Then he sticks a short pipe into his mouth, and pulls on an old wool hat, and flourishes a stick that the supe throws to him, and you see that he is an Irishman just come across the sea; and then off goes another coat, and he comes out a British soldier in white duck trousers and red coat. That comes off, and he is an American sailor, with his hands on his hips, dancing a horn-pipe. Suddenly away flash wig and beard and false-face, the pantaloons are stripped off with the same movement, the actor stoops for the reins lying on the horse's neck, and James Rivers, the greatest three-horse rider in the world, nimbly capers on the broad pad, and kisses his hand to the shouting and cheering spectators as he dashes from the ring past the braying and bellowing brass-band into the dressing-room!

The big boys have known all along that he was not a real country-jake; but when the trained mule begins, and shakes everybody off, just like the horse, and another country-jake gets up, and offers to bet that he can ride that mule, nobody can tell whether he is a real country-jake or not. This is always the last thing in the performance, and the boys have seen with heavy hearts many signs openly betokening the end which they knew was at hand. The actors have come out of the dressing-room door, some in their every-day clothes, and some with just overcoats on over their circus-dresses, and they lounge about near the bandstand watching the performance in the ring. Some of the people are already getting up to go out, and stand for this last act, and will not mind the shouts of "Down in front! Down there!" which the boys eagerly join in, to eke out their bliss a little longer by keeping away even the appearance of anything transitory in it. The country-jake comes stumbling awkwardly into the ring, but he is perfectly sober, and he boldly leaps astride the mule, which tries all its arts to shake him off, plunging, kicking, rearing. He sticks on, and everybody cheers him, and the owner of the mule begins to get mad and to make it do more things to shake the country-jake off. At last, with one convulsive spring, it flings him from its back, and dashes into the dressing-room, while the country-jake picks himself up and vanishes among the crowd.

A man mounted on a platform in the ring is imploring the ladies and gentlemen to keep their seats, and to buy tickets for the negro-minstrel entertainment which is to follow, but which is not included in the price of admission. The boys would like to stay, but they have not the money, and they go out clamoring over the performance, and trying to decide which was the best feat. As to which was the best actor, there is never any question; it is the clown, who showed by the way he turned a double somersault that he can do anything, and who chooses to be clown simply because he is too great a creature to enter into rivalry with the other actors.

There will be another performance in the evening, with real fights outside between the circus men and the country-jakes, and perhaps some of the Basin rounders, but the boys do not expect to come; that would be too much. The boy's brother once stayed away in the afternoon, and went at night with one of the jour printers; but he was not able to report that the show was better than it was in the afternoon. He did not get home till nearly ten o'clock, though, and he saw the sides of the tent dropped before the people got out; that was a great thing; and what was greater yet, and reflected a kind of splendor on the boy at second hand, was that the jour printer and the clown turned out to be old friends. After the circus, the boy actually saw them standing near the centre-pole talking together; and the next day the jour showed the grease that had dripped on his coat from the candles. Otherwise the boy might have thought it was a dream, that some one he knew had talked on equal terms with the clown. The boys were always intending to stay up and see the circus go out of town, and they would have done so, but their mothers would not let them. This may have been one reason why none of them ever ran off with a circus.

As soon as a circus had been in town, the boys began to have circuses of their own, and to practise for them. Everywhere you could see boys upside down, walking on their hands or standing on them with their legs dangling over, or stayed against house walls. It was easy to stand on your head; one boy stood on his head so much that he had to have it shaved, in the brain-fever that he got from standing on it; but that did not stop the other fellows. Another boy fell head downward from a rail where he was skinning-the-cat, and nearly broke his neck, and made it so sore that it was stiff ever so long. Another boy, who was playing Samson, almost had his leg torn off by the fellows that were pulling at it with a hook; and he did have the leg of his pantaloons torn off. Nothing could stop the boys but time, or some other play coming in; and circuses lasted a good while. Some of the boys learned to turn hand-springs; anybody could turn cart-wheels; one fellow, across the river, could just run along and throw a somersault and light on his feet; lots of fellows could light on their backs; but if you had a spring-board, or shavings under a bank, like those by the turning-shop, you could practise for somersaults pretty safely.

All the time you were practising you were forming your circus company. The great trouble was not that any boy minded paying five or ten pins to come in, but that so many fellows wanted to belong there were hardly any left to form an audience. You could get girls, but even as spectators girls were a little _too_ despicable; they did not know anything; they had no sense; if a fellow got hurt they cried. Then another thing was, where to have the circus. Of course it was simply hopeless to think of a tent, and a boy's circus was very glad to get a barn. The boy whose father owned the barn had to get it for the circus without his father knowing it; and just as likely as not his mother would hear the noise and come out and break the whole thing up while you were in the very middle of it. Then there were all sorts of anxieties and perplexities about the dress. You could do something by turning your roundabout inside out, and rolling your trousers up as far as they would go; but what a fellow wanted to make him a real circus-actor was a long pair of white cotton stockings, and I never knew a fellow that got a pair; I heard of many a fellow who was said to have got a pair; but when you came down to the fact, they vanished like ghosts when you try to verify them. I believe the fellows always expected to get them out of a bureau-drawer or the clothes-line at home, but failed. In most other ways, a boy's circus was always a failure, like most other things boys undertake. They usually broke up under the strain of rivalry; everybody wanted to be the clown or ring-master; or else the boy they got the barn of behaved badly, and went into the house crying, and all the fellows had to run.

PASSING SHOWS

There were only two kinds of show known by that name in the Boy's Town: a nigger show, or a performance of burnt-cork minstrels; and an animal show, or a strolling menagerie; and the boys always meant a menagerie when they spoke of a show, unless they said just what sort of show. The only perfect joy on earth in the way of an entertainment, of course, was a circus, but after the circus the show came unquestionably next. It made a processional entry into the town almost as impressive as the circus's, and the boys went out to meet it beyond the corporation line in the same way. It always had two elephants, at least, and four or five camels, and sometimes there was a giraffe. These headed the procession, the elephants in the very front, with their keepers at their heads, and then the camels led by halters dangling from their sneering lips and contemptuous noses. After these began to come the show-wagons, with pictures on their sides, very flattered portraits of the wild beasts and birds inside; lions first, then tigers (never meaner than Royal Bengal ones, which the boys understood to be a superior breed), then leopards, then pumas and panthers; then bears, then jackals and hyenas; then bears and wolves; then kangaroos, musk-oxen, deer, and such harmless cattle; and then ostriches, emus, lyre-birds, birds-of-Paradise, and all the rest.

From time to time the boys ran back from the elephants and camels to get what good they could out of the scenes in which these hidden wonders were dramatized in acts of rapine or the chase, but they always came forward to the elephants and camels again. Even with them they had to endure a degree of denial, for although you could see most of the camels' figures, the elephants were so heavily draped that it was a kind of disappointment to look at them. The boys kept as close as they could, and came as near getting under the elephants' feet as the keepers would allow; but, after all, they were driven off a good deal and had to keep stealing back. They gave the elephants apples and bits of cracker and cake, and some tried to put tobacco into their trunks, though they knew very well that it was nearly certain death to do so; for any elephant that was deceived that way would recognize the boy that did it, and kill him the next time he came, if it was twenty years afterward. The boys used to believe that the Miami bridge would break down under the elephants if they tried to cross it, and they would have liked to see it do it, but no one ever saw it, perhaps because the elephants always waded the river. Some boys had seen them wading it, and stopping to drink and squirt the water out of their trunks. If an elephant got a boy that had given him tobacco into the river, he would squirt water on him till he drowned him. Still, some boys always tried to give the elephants tobacco, just to see how they would act for the time being.

A show was not so much in favor as a circus, because there was so little performance in the ring. You could go round and look at the animals, mostly very sleepy in their cages, but you were not allowed to poke them through the bars, or anything; and when you took your seat there was nothing much till Herr Driesbach entered the lions' cage, and began to make them jump over his whip. It was some pleasure to see him put his head between the jaws of the great African King of Beasts, but the lion never did anything to him, and so the act wanted a true dramatic climax. The boys would really rather have seen a bareback-rider, like James Rivers, turn a back-somersault and light on his horse's crupper, any time, though they respected Herr Driesbach, too; they did not care much for a woman who once went into the lions' cage and made them jump round.

The boys had their own beliefs about the different animals, and one of these concerned the inappeasable ferocity of the zebra. I do not know why the zebra should have had this repute, for he certainly never did anything to deserve it; but, for the matter of that, he was like all the other animals. Bears were not much esteemed, but they would have been if they could have been really seen hugging anybody to death. It was always hoped that some of the fiercest animals would get away and have to be hunted down, and retaken after they had killed a lot of dogs. If the elephants, some of them, had gone crazy, it would have been something, for then they would have roamed up and down the turnpike smashing buggies and wagons, and had to be shot with the six-pound cannon that was used to celebrate the Fourth of July with.

Another thing that was against the show was that the animals were fed after it was out, and you could not see the tigers tearing their prey when the great lumps of beef were thrown them. There was somehow not so much chance of hooking into a show as a circus, because the seats did not go all round, and you could be seen under the cages as soon as you got in under the canvas. I never heard of a boy that hooked into a show; perhaps nobody ever tried.

But the great reason of all was that you could not have an animal show of your own as you could a circus. You could not get the animals; and no boy living could act a camel, or a Royal Bengal tiger, or an elephant so as to look the least like one.

Of course you could have negro shows, and the boys often had them; but they were not much fun, and you were always getting the black on your shirt-sleeves.

THE THEATRE COMES TO TOWN

A great new experience which now came to the boy was the theatre, which he had sometimes heard his father speak of. There had once been a theatre in the Boy's Town, when a strolling company came up from Cincinnati, and opened for a season in an empty pork-house. But that was a long time ago, and, though he had written a tragedy, all that the boy knew of a theatre was from a picture in a Sunday-school book where a stage scene was given to show what kind of desperate amusements a person might come to in middle life if he began by breaking the Sabbath in his youth. His brother had once been taken to a theatre in Pittsburg by one of their river-going uncles, and he often told about it; but my boy formed no conception of the beautiful reality from his accounts of a burglar who jumped from a roof and was chased by a watchman with a pistol up and down a street with houses painted on a curtain.

The company which came to the Boy's Town in his time was again from Cincinnati, and it was under the management of the father and mother of two actresses, afterward famous, who were then children, just starting upon their career. These pretty little creatures took the leading parts in _Bombastes Furioso_ the first night my boy ever saw a play, and he instantly fell impartially in love with both of them, and tacitly remained their abject slave for a great while after. When the smaller of them came out with a large pair of stage boots in one hand and a drawn sword in the other, and said:

"Whoever dares these boots displace Shall meet Bombastes face to face,"

if the boy had not already been bereft of his senses by the melodrama preceding the burlesque, he must have been transported by her beauty, her grace, her genius. He, indeed, gave her and her sister his heart, but his mind was already gone, rapt from him by the adorable pirate who fought a losing fight with broadswords, two up and two down--click-click, click-click--and died all over the deck of the pirate ship in the opening piece. This was called the _Beacon of Death_, and the scene represented the forecastle of the pirate ship with a lantern dangling from the rigging, to lure unsuspecting merchantmen to their doom. Afterward the boy remembered nothing of the story, but a scrap of the dialogue meaninglessly remained with him; and when the pirate captain appeared with his bloody crew and said, hoarsely, "Let us go below and get some brandy!" the boy would have bartered all his hopes of bliss to have been that abandoned ruffian. In fact, he always liked, and longed to be, the villain, rather than any other person in the play, and he so glutted himself with crime of every sort in his tender years at the theatre that he afterward came to be very tired of it, and avoided the plays and novels that had very marked villains in them.

He was in an ecstasy as soon as the curtain rose that night, and he lived somewhere out of his body as long as the playing lasted, which was well on to midnight; for in those days the theatre did not meanly put the public off with one play, but gave it a heartful and its money's worth with three. On his first night my boy saw _The Beacon of Death_, _Bombastes Furioso_, and _Black-Eyed Susan_, and he never afterward saw less than three plays each night, and he never missed a night, as long as the theatre languished in the unfriendly air of that mainly Calvinistic community, where the theatre was regarded by most good people as the eighth of the seven deadly sins. The whole day long he dwelt in a dream of it that blotted out, or rather consumed with more effulgent brightness, all the other day-dreams he had dreamed before, and his heart almost burst with longing to be a villain like those villains on the stage, to have a mustache--a black mustache--such as they wore at a time when every one off the stage was clean shaven, and somehow to end bloodily, murderously, as became a villain.

I dare say this was not quite a wholesome frame of mind for a boy of ten years; but I do not defend it; I only portray it. Being the boy he was, he was destined somehow to dwell half the time in a world of dreamery; and I have tried to express how, when he had once got enough of villany, he reformed his ideals and rather liked virtue.

THE WORLD OPENED BY BOOKS

Every boy is two or three boys, or twenty or thirty different kinds of boys in one; he is all the time living many lives and forming many characters; but it is a good thing if he can keep one life and one character when he gets to be a man. He may turn out to be like an onion when he is grown up, and be nothing but hulls, that you keep peeling off, one after another, till you think you have got down to the heart, at last, and then you have got down to nothing.

All the boys may have been like my boy in the Boy's Town, in having each an inward being that was not the least like their outward being, but that somehow seemed to be their real self, whether it truly was so or not. But I am certain that this was the case with him, and that while he was joyfully sharing the wild sports and conforming to the savage usages of the boy's world about him, he was dwelling in a wholly different world within him, whose wonders no one else knew. I could not tell now these wonders any more than he could have told them then; but it was a world of dreams, of hopes, of purposes, which he would have been more ashamed to avow for himself than I should be to avow for him. It was all vague and vast, and it came out of the books that he read, and that filled his soul with their witchery, and often held him aloof with their charm in the midst of the plays from which they could not lure him wholly away, or at all away. He did not know how or when their enchantment began, and he could hardly recall the names of some of them afterward.

First of them was Goldsmith's _History of Greece_, which made him an Athenian of Pericles' time, and Goldsmith's _History of Rome_, which naturalized him in a Roman citizenship chiefly employed in slaying tyrants; from the time of Appius Claudius down to the time of Domitian, there was hardly a tyrant that he did not slay. After he had read these books, not once or twice, but twenty times over, his father thought fit to put into his hands _The Travels of Captain Ashe in North America_, to encourage, or perhaps to test, his taste for useful reading; but this was a failure. The captain's travels were printed with long esses, and the boy could make nothing of them, for other reasons. The fancy nourished upon

"The glory that was Greece And the grandeur that was Rome,"

starved amid the robust plenty of the Englishman's criticisms of our early manners and customs. Neither could money hire the boy to read _Malte-Brun's Geography_, in three large folios, of a thousand pages each, for which there was a standing offer of fifty cents from the father, who had never been able to read it himself.