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MISS LEGION
By Bert Leston Taylor
She is hotfoot after Cultyure;
She pursues it with a club.
She breathes a heavy atmosphere
Of literary flub.
No literary shrine so far
But she is there to kneel;
And—
Her favorite bunch of reading
Is O. Meredith's "Lucile."
Of course she's up on pictures—
Passes for a connoisseur;
On free days at the Institute
You'll always notice her.
She qualifies approval
Of a Titian or Corot,
But—
She throws a fit of rapture
When she comes to Bouguereau.
And when you talk of music,
Why, she's Music's devotee.
She will tell you that Beethoven
Always makes her wish to pray,
And "dear old Bach!" his very name,
She says, her ear enchants;
But—
Her favorite piece is Weber's
"Invitation to the Dance."
HAVE YOU SEEN THE LADY?
By John Philip Sousa
"Have I told you the name of a lady?
Have I told you the name of a dear?
'Twas known long ago,
And ends with an O;
You don't hear it often round here.
Have I talked of the eyes of a lady?
Have I talked of the eyes that are bright?
Their color, you see,
Is B-L-U-E;
They're the gin in the cocktail of light.
Have I sung of the hair of a lady?
Have I sung of the hair of a dove?
What shade do you say?
B-L-A-C-K;
It's the fizz in the champagne of love.
Can you guess it—the name of the lady?
She is sweet, she is fair, she is coy.
Your guessing forego,
It's J-U-N-O;
She's the mint in the julep of joy."
THE FUNNY LITTLE FELLOW
By James Whitcomb Riley
'Twas a Funny Little Fellow
Of the very purest type,
For he had a heart as mellow
As an apple over-ripe;
And the brightest little twinkle
When a funny thing occurred,
And the lightest little tinkle
Of a laugh you ever heard!
His smile was like the glitter
Of the sun in tropic lands,
And his talk a sweeter twitter
Than the swallow understands;
Hear him sing—and tell a story—
Snap a joke—ignite a pun,—
'Twas a capture—rapture—glory,
And explosion—all in one!
Though he hadn't any money—
That condiment which tends
To make a fellow "honey"
For the palate of his friends;
Sweet simples he compounded—
Sovereign antidotes for sin
Or taint,—a faith unbounded
That his friends were genuine.
He wasn't honored, may be—
For his songs of praise were slim,—
Yet I never knew a baby
That wouldn't crow for him;
I never knew a mother
But urged a kindly claim
Upon him as a brother,
At the mention of his name.
The sick have ceased their sighing,
And have even found the grace
Of a smile when they were dying
As they looked upon his face;
And I've seen his eyes of laughter
Melt in tears that only ran
As though, swift dancing after,
Came the Funny Little Man.
He laughed away the sorrow,
And he laughed away the gloom
We are all so prone to borrow
From the darkness of the tomb;
And he laughed across the ocean
Of a happy life, and passed,
With a laugh of glad emotion,
Into Paradise at last.
And I think the Angels knew him,
And had gathered to await
His coming, and run to him
Through the widely-opened Gate—
With their faces gleaming sunny
For his laughter-loving sake,
And thinking, "What a funny
Little Angel he will make!"
MUSICAL REVIEW EXTRAORDINARY
By John Phoenix
San Diego, July 10th, 1854.
As your valuable work is not supposed to be so entirely identified with San Franciscan interests as to be careless what takes place in other portions of this great kentry, and as it is received and read in San Diego with great interest (I have loaned my copy to over four different literary gentlemen, most of whom have read some of it), I have thought it not improbable that a few critical notices of the musical performances and the drama of this place might be acceptable to you, and interest your readers. I have been, moreover, encouraged to this task by the perusal of your interesting musical and theatrical critiques on San Francisco performers and performances; as I feel convinced that if you devote so much space to them you will not allow any little feeling of rivalry between the two great cities to prevent your noticing ours, which, without the slightest feeling of prejudice, I must consider as infinitely superior. I propose this month to call your attention to the two great events in our theatrical and musical world—the appearance of the talented Miss Pelican, and the production of Tarbox's celebrated "Ode Symphonie" of "The Plains."
The critiques on the former are from the columns of the Vallecetos Sentinel, to which they were originally contributed by me, appearing on the respective dates of June 1st and June 31st.
From the Vallecetos Sentinel, June 1st
Miss Pelican.—Never during our dramatic experience has a more exciting event occurred than the sudden bursting upon our theatrical firmament, full, blazing, unparalleled, of the bright, resplendent and particular star whose honored name shines refulgent at the head of this article. Coming among us unheralded, almost unknown, without claptrap, in a wagon drawn by oxen across the plains, with no agent to get up a counterfeit enthusiasm in her favor, she appeared before us for the first time at the San Diego Lyceum last evening, in the trying and difficult character of Ingomar, or the Tame Savage. We are at a loss to describe our sensations, our admiration, at her magnificent, her super-human efforts. We do not hesitate to say that she is by far the superior to any living actress; and, as we believe that to be the perfection of acting, we cannot be wrong in the belief that no one hereafter will ever be found to approach her. Her conception of the character of Ingomar was perfection itself; her playful and ingenuous manner, her light girlish laughter, in the scene with Sir Peter, showed an appreciation of the savage character which nothing but the most arduous study, the most elaborate training could produce; while her awful change to the stern, unyielding, uncompromising father in the tragic scene of Duncan's murder, was indeed nature itself. Miss Pelican is about seventeen years of age, of miraculous beauty, and most thrilling voice. It is needless to say she dresses admirably, as in fact we have said all we can say when we called her, most truthfully, perfection. Mr. John Boots took the part of Parthenia very creditably, etc., etc.
From the Vallecetos Sentinel, June 31st
Miss Pelican.—As this lady is about to leave us to commence an engagement on the San Francisco stage, we should regret exceedingly if anything we have said about her should send with her a prestige which might be found undeserved on trial. The fact is, Miss Pelican is a very ordinary actress; indeed, one of the most indifferent ones we have ever happened to see. She came here from the Museum at Fort Laramie, and we praised her so injudiciously that she became completely spoiled. She has performed a round of characters during the last week, very miserably, though we are bound to confess that her performance of King Lear last evening was superior to anything of the kind we ever saw. Miss Pelican is about forty-three years of age, singularly plain in her personal appearance, awkward and embarrassed, with a cracked and squeaking voice, and really dresses quite outrageously. She has much to learn—poor thing!
I take it the above notices are rather ingenious. The fact is, I'm no judge of acting, and don't know how Miss Pelican will turn out. If well, why there's my notice of June the 1st; if ill, then June 31st comes in play, and, as there is but one copy of the Sentinel printed, it's an easy matter to destroy the incorrect one; both can't be wrong; so I've made a sure thing of it in any event. Here follows my musical critique, which I flatter myself is of rather superior order:
The Plains. Ode Symphonie par Jabez Tarbox.—This glorious composition was produced at the San Diego Odeon on the 31st of June, ult., for the first time in this or any other country, by a very full orchestra (the performance taking place immediately after supper), and a chorus composed of the entire "Sauer Kraut-Verein," the "Wee Gates Association," and choice selections from the "Gyascutus" and "Pike-harmonic" societies. The solos were rendered by Herr Tuden Links, the recitations by Herr Von Hyden Schnapps, both performers being assisted by Messrs. John Smith and Joseph Brown, who held their coats, fanned them, and furnished water during the more overpowering passages.
"The Plains" we consider the greatest musical achievement that has been presented to an enraptured public. Like Waterloo among battles; Napoleon among warriors; Niagara among falls, and Peck among senators, this magnificent composition stands among Oratorios, Operas, Musical Melodramas and performances of Ethiopian Serenaders, peerless and unrivaled. Il frappe toute chose parfaitement froid.
"It does not depend for its success" upon its plot, its theme, its school or its master, for it has very little if any of them, but upon its soul-subduing, all-absorbing, high-faluting effect upon the audience, every member of which it causes to experience the most singular and exquisite sensations. Its strains at times remind us of those of the old master of the steamer McKim, who never went to sea without being unpleasantly affected;—a straining after effect he used to term it. Blair in his lecture on beauty, and Mills in his treatise on logic, (p. 31,) have alluded to the feeling which might be produced in the human mind by something of this transcendentally sublime description, but it has remained for M. Tarbox, in the production of "The Plains," to call this feeling forth.
The symphonie opens upon the wide and boundless plains in longitude 115 degrees W., latitude 35 degrees 21 minutes 03 seconds N., and about sixty miles from the west bank of Pitt River. These data are beautifully and clearly expressed by a long (topographically) drawn note from an E flat clarionet. The sandy nature of the soil, sparsely dotted with bunches of cactus and artemisia, the extended view, flat and unbroken to the horizon, save by the rising smoke in the extreme verge, denoting the vicinity of a Pi Utah village, are represented by the bass drum. A few notes on the piccolo call attention to a solitary antelope picking up mescal beans in the foreground. The sun, having an altitude of 36 degrees 27 minutes, blazes down upon the scene in indescribable majesty. "Gradually the sounds roll forth in a song" of rejoicing to the God of Day:
"Of thy intensity
And great immensity
Now then we sing;
Beholding in gratitude
Thee in this latitude,
Curious thing."
Which swells out into "Hey Jim along, Jim along Josey," then decrescendo, mas o menos, poco pocita, dies away and dries up.
Suddenly we hear approaching a train from Pike County, consisting of seven families, with forty-six wagons, each drawn by thirteen oxen; each family consists of a man in butternut-colored clothing driving the oxen; a wife in butternut-colored clothing riding in the wagon, holding a butternut baby, and seventeen butternut children running promiscuously about the establishment; all are barefooted, dusty, and smell unpleasantly. (All these circumstances are expressed by pretty rapid fiddling for some minutes, winding up with a puff from the orpheclide played by an intoxicated Teuton with an atrocious breath—it is impossible to misunderstand the description.) Now rises o'er the plains, in mellifluous accents, the grand Pike County Chorus:
"Oh we'll soon be thar
In the land of gold,
Through the forest old,
O'er the mounting cold,
With spirits bold—
Oh, we come, we come,
And we'll soon be thar.
Gee up Bolly! whoo, up, whoo haw!"
The train now encamp. The unpacking of the kettles and mess-pans, the unyoking of the oxen, the gathering about the various camp-fires, the frizzling of the pork, are so clearly expressed by the music that the most untutored savage could readily comprehend it. Indeed, so vivid and lifelike was the representation, that a lady sitting near us involuntarily exclaimed aloud, at a certain passage, "Thar, that pork's burning!" and it was truly interesting to watch the gratified expression of her face when, by a few notes of the guitar, the pan was removed from the fire, and the blazing pork extinguished.
This is followed by the beautiful aria:
"O! marm, I want a pancake!"
Followed by that touching recitative:
"Shet up, or I will spank you!"
To which succeeds a grand crescendo movement, representing the flight of the child with the pancake, the pursuit of the mother, and the final arrest and summary punishment of the former, represented by the rapid and successive strokes of the castanet.
The turning in for the night follows; and the deep and stertorous breathing of the encampment is well given by the bassoon, while the sufferings and trials of an unhappy father with an unpleasant infant are touchingly set forth by the cornet à piston.
Part Second.—The night attack of the Pi Utahs; the fearful cries of the demoniac Indians; the shrieks of the females and children; the rapid and effective fire of the rifles; the stampede of the oxen; their recovery and the final repulse, the Pi Utahs being routed after a loss of thirty-six killed and wounded, while the Pikes lose but one scalp (from an old fellow who wore a wig, and lost it in the scuffle), are faithfully given, and excite the most intense interest in the minds of the hearers; the emotions of fear, admiration and delight: succeeding each other, in their minds, with almost painful rapidity. Then follows the grand chorus:
"Oh! we gin them fits,
The Ingen Utahs.
With our six-shooters—
We gin 'em pertickuler fits."
After which we have the charming recitative of Herr Tuden Links, to the infant, which is really one of the most charming gems in the performance:
"Now, dern your skin, can't you be easy?"
Morning succeeds. The sun rises magnificently (octavo flute)—breakfast is eaten,—in a rapid movement on three sharps; the oxen are caught and yoked up—with a small drum and triangle; the watches, purses and other valuables of the conquered Pi Utahs are stored away in a camp-kettle, to a small movement on the piccolo, and the train moves on, with the grand chorus:
"We'll soon be thar,
Gee up Bolly! Whoo hup! whoo haw!"
The whole concludes with the grand hymn and chorus:
"When we die we'll go to Benton,
Whup! Whoo, haw!
The greatest man that e'er land saw,
Gee!
Who this little airth was sent on
Whup! Whoo, haw!
To tell a 'hawk from a handsaw!'
Gee!"
The immense expense attending the production of this magnificent work, the length of time required to prepare the chorus, and the incredible number of instruments destroyed at each rehearsal, have hitherto prevented M. Tarbox from placing it before the American public, and it has remained for San Diego to show herself superior to her sister cities of the Union, in musical taste and appreciation, and in high-souled liberality, by patronizing this immortal prodigy, and enabling its author to bring it forth in accordance with his wishes and its capabilities. We trust every citizen of San Diego and Vallecetos will listen to it ere it is withdrawn; and if there yet lingers in San Francisco one spark of musical fervor, or a remnant of taste for pure harmony, we can only say that the Southerner sails from that place once a fortnight, and that the passage money is but forty-five dollars.
THE RUNAWAY BOY
By James Whitcomb Riley
Wunst I sassed my Pa, an' he
Won't stand that, an' punished me,—
Nen when he was gone that day,
I slipped out an' runned away.
I tooked all my copper-cents,
An' clumbed over our back fence
In the jimpson-weeds 'at growed
Ever'where all down the road.
Nen I got out there, an' nen
I runned some—an' runned again
When I met a man 'at led
A big cow 'at shooked her head.
I went down a long, long lane
Where was little pigs a-play'n';
An' a grea'-big pig went "Booh!"
An' jumped up, an' skeered me too.
Nen I scampered past, an' they
Was somebody hollered "Hey!"
An' I ist looked ever'where,
An' they was nobody there.
I want to, but I'm 'fraid to try
To go back.... An' by-an'-by
Somepin' hurts my throat inside—
An' I want my Ma—an' cried.
Nen a grea'-big girl come through
Where's a gate, an' telled me who
Am I? an' ef I tell where
My home's at she'll show me there.
But I couldn't ist but tell
What's my name; an' she says well,
An' she tooked me up an' says
She know where I live, she guess.
Nen she telled me hug wite close
Round her neck!—an' off she goes
Skippin' up the street! An' nen
Purty soon I'm home again.
An' my Ma, when she kissed me,
Kissed the big girl too, an' she
Kissed me—ef I p'omise shore
I won't run away no more!
THE DRAYMAN
By Daniel O'Connell
The captain that walks the quarter-deck
Is the monarch of the sea;
But every day, when I'm on my dray,
I'm as big a monarch as he.
For the car must slack when I'm on the track,
And the gripman's face gets blue,
As he holds her back till his muscles crack,
And he shouts, "Hey, hey! Say, you!
Get out of the way with that dray!" "I won't!"
"Get out of the way, I say!"
But I stiffen my back, and I stay on the track,
And I won't get out of the way.
When a gaudy carriage bowls along,
With a coachman perched on high,
Solemn and fat, a cockade in his hat,
Just like a big blue fly,
I swing my leaders across the road,
And put a stop to his jaunt,
And the ladies cry, "John, John, drive on!"
And I laugh when he says "I caun't."
Oh, life to me is a big picnic,
From the rise to the set of sun!
The swells that ride in their fancy drags
Don't begin to have my fun.
I'm king of the road, though I wear no crown,
As I leisurely move along,
For I own the streets, and I hold them down,
And I love to hear this song:
"Get out of the way with your dray!" "I won't!"
"Get out of the way, I say!"
But I stiffen my back, and I stay on the track,
And I don't get out of the way.
BILL'S COURTSHIP
By Frank L. Stanton
I
Bill looked happy as could be
One bright mornin'; an' says he:
"Folks has been a-tellin' me
Mollie's set her cap my way;
An' I'm goin' thar' to-day
With the license; so, ol' boy,
Might's well shake, an' wish me joy!
Never seen a woman yit
This here feller couldn't git!"
II
Now, it happened, that same day,
I'd been lookin' Mollie's way;—
Jest had saddled my ol' hoss
To go canterin' across
Parson Jones's pastur', an'
Ax her fer her heart an' han'!
So, when Bill had had his say
An' done set his weddin' day,
I lit out an' rid that way.
III
Mollie met me at the door:—
"Glad to see yer face once more!"
She—says she: "Come in—come in!"
("It's the best man now will win,"
Thinks I to myself.) Then she
Brung a rocker out fer me
On the cool piazza wide,
With her own chair right 'longside!
IV
In about two hours I knowed
In that race I had the road!
Talked in sich a winnin' way
Got her whar' she named the day,
With her shiny head at rest
On my speckled Sunday vest!
An', whilst in that happy state,
Bill—he rid up to the gate.
V
Well, sir-ee!… He sot him down—
Cheapest lookin' chap in town!
(Knowed at once I'd set my traps!)
Talked 'bout weather, an' the craps,
An' a thousan' things; an' then—
Jest the lonesomest o' men—
Said he had so fur to ride,
Reckoned it wuz time to slide!
VI
But I hollered out: "Ol' boy,
Might's well shake, an' wish me joy!
I hain't seen the woman yit
That this feller couldn't git!"
THE WOMAN WHO MARRIED AN OWL
By Anne Virginia Culbertson
When the children got home from the nutting expedition and had eaten supper, they sat around discontentedly, wishing every few minutes that their mother had returned.
"I wish mamma would come back," said Ned. "I never know what to do in the evening when she isn't home."
"I 'low 'bout de bes' you-all kin do is ter lemme putt you ter baid," said Aunt 'Phrony.
"Don't want to go to bed," "I'm not sleepy," "Want to stay up," came in chorus from three pairs of lips.
"You chillen is wusser dan night owls," said the old woman. "Ef you keeps on wid dis settin'-up-all-night bizness, I boun' some er you gwine turn inter one'r dese yer big, fussy owls wid yaller eyes styarin', jes' de way li'l Mars Kit doin' dis ve'y minnit, tryin' ter keep hisse'f awake. An' dat 'mines me uv a owl whar turnt hisse'f inter a man, an' ef a owl kin do dat, w'ats ter hinner one'r you-all turnin' inter a owl, I lak ter know? So you bes' come 'long up ter baid, an' ef you is right spry gettin' raidy, mebbe I'll whu'l in an' tell you 'bout dat owl."
The little procession moved upstairs, Coonie, the house-boy, bringing up the rear with an armful of sticks and some fat splinters of lightwood, which were soon blazing with an oily sputter. Coonie scented a story, and his bullet pate was bent over the fire an unnecessarily long time, as he blew valiant puffs upon the flames which no longer needed his assistance, and arranged and rearranged his skilfully piled sticks.
"Quit dat foolishness, nigger," said 'Phrony at last, "an' set down on de ha'th an' 'have yo'se'f. Ef you wanter stay, whyn't you sesso, stidder blowin' yo'se'f black in de face? Now, den, ef y'all raidy, I gwine begin.
"Dish yer w'at I gwine tell happen at de time er de 'ear w'en de Injuns wuz havin' der green-cawn darnse, an' I reckon you-all 'bout ter ax me w'at dat is, so I s'pose I mought ez well tell you. 'Long in Augus' w'en de Injuns stopped wu'kkin' de cawn, w'at we call 'layin' by de crap,' den dey cu'd mos' times tell ef 'twuz gwineter be a good crap, so dey 'mence ter git raidy fer de darnse nigh a month befo'han'. Dey went ter de medincin' man an' axed him fer ter 'pint de day. Den medincin' man he sont out runners ter tell ev'b'dy, an' de runners dey kyar'd 'memb'ance-strings wid knots tied all 'long 'em, an' give 'em ter de people fer ter he'p 'em 'member. De folks dey'd cut off a knot f'um de string each day, an' w'en de las' one done cut off, den dey know de day fer de darnse wuz come. An' de medincin' man he sont out hunters, too, fer ter git game, an' mo' runners fer ter kyar' hit ter de people so's't dey mought cook hit an' bring hit in.
"W'en de time come, de people ga'rred toge'rr an' de medincin' man he tucken some er de new cawn an' some uv all de craps an' burnt hit, befo' de people wuz 'lowed ter eat any. Atter de burnin', den he tucken a year er cawn in one han' an' ax fer blessin's an' good craps wid dat han', w'ile he raise up tu'rr han' ter de storm an' de win' an' de hail an' baig 'em not ter bring evil 'pun de people. Atter dat, dey all made der bre'kfus' offen roas'in'-years er de new cawn an' den de darnse begun an' lasted fo' days an' fo' nights; de men dress' up in der bes' an' de gals wearin' gre't rattles tied on der knees, dat shuk an' rattled wid ev'y step.
"De gal whar I gwine tell 'bout wuz on her way home on de fo'th night, an' she wuz pow'ful tired, 'kase dem rattles is monst'ous haivy, an' she bin keepin' hit up fo' nights han' runnin'. She wuz gwine thu a dark place in de woods w'en suddintly she seed a young man all wrop up in a sof' gray blankit an' leanin' 'gins' a tree. His eyes wuz big an' roun' an' bright, an' dey seemed ter bu'n lak fire. Dem eyes drord de gal an' drord de gal 'twel she warn't 'feared no mo', an' she come nearer, an' las' he putt out his arms wrop up in de gray blanket an' drord her clost 'twel she lean erg'in him, an' she look up in de big, bright eyes an' she say, 'Whar is you, whar is you?' An' he say, 'Oo-goo-coo, Oo-goo-coo.' Dat wuz de Churrykee name fer 'owl,' but de gal ain' pay no 'tention ter dat, for mos' er de Injun men wuz name' atter bu'ds an' beas'eses an' sech ez dat. Atter dat she useter go out ter de woods ev'y night ter see de young man, an' she alluz sing out ter him, 'Whar is you, whar is you?' an' he'd arnser, 'Oo-goo-coo, Oo-goo-coo.' Dat wuz de on'ies wu'd he uver say, but de gal thought 'twuz all right, fer she done mek up her min' dat he 'longed ter nu'rr tribe er Injuns whar spoke diff'nt f'um her own people. Sidesen dat, she love' him, an' w'en gals is in love dey think ev'ything de man do is jes' 'bout right, an' dese yer co'tin'-couples is no gre't fer talkin,' nohow.
"De gal's daddy wuz daid an' her an' her mammy live all 'lone, so las' she mek up her min' dat it be heap mo' handy ter have a man roun' de house, so she up an' tell her mammy dat she done got ma'ied. Her mammy say, 'You is, is you? Well, who de man?' De gal say 'Oo-goo-coo.' 'Well, den,' sez her mammy, 'I reckon you bes' bring home dish yer Oo-goo-coo an' see ef we kain't mek him useful. A li'l good game, now an' den, 'ud suit my mouf right well. We ain' have nair' pusson ter do no huntin' fer us sence yo' daddy died.'
"'Mammy,' sez de gal, 'I'se 'bleeged ter tell you dat my husban' kain't speak ow' langwidge.'
"'All de better,' sez her mammy, sez she. 'Dar ain' gwine be no trouble 'bout dat, 'kase I kin do talkin' 'nuff fer two, an' I ain' want one dese yer back-talkin' son-in-laws, nohow.'
"So de nex' night de gal went off an' comed back late wid de young man. Her mammy ax him in an' gin him a seat by de fire, an' dar he sot all wrop up in his blinkit, wid his haid turnt 'way f'um de light, not sayin' nuttin' ter nob'dy. An' de fire died down an' de wind blewed mo'nful outside, an' dar he sot on an' on, an' w'en de wimmins went ter sleep, dar he wuz settin', still. But in de mawnin' w'en dey woked up he wuz gone, an' dey ain' see hya'r ner hide uv 'im all day.
"De nex' night he come erg'in and bringed a lot er game wid 'im, an' he putt dat down at de do' an' set hisse'f down by de fire an' stay dar, same ez befo', not sayin' nair' wu'd. Dat kind er aggervex de gal's mammy at las', 'kase she wuz one'r dese yer wimmins whar no sooner gits w'at dey ax fer dan dey ain' kyare 'bout hit no mo.' She want son-in-law whar kain't talk, she git him, an' den she want one whar kin arnser back. She gittin' kind er jubous 'bout him, but she 'feared ter say anything fer fear he quit an' she git no mo' game.
"Thu'd night he come onct mo' wid a passel er game, an' she mighty cur'ous 'bout him by dat time. She say ter husse'f, 'Well! ef I ain' got de curisomest son-in-law in dese diggin's, den I miss de queschin. I wunner w'at mek him set wid his face turnt f'um de fire an' blinkin' his eyes all de time? I wunner w'y he ain' nuver onloose dat blankit, an' w'y he g'longs off 'fo' de daylight an' nuver comes back 'twel de dark.'
"'Oh, mammy,' sez de gal, sez she, 'ain' I tol' you he kain't speak ow' langwidge, an' I 'spec' he done come f'um dat wo'm kyountry whar we year tell 'bout, 'way off yonner, an' dat huccome he hatter keep his blankit roun' him. I reckon he git so tired huntin' all day, no wunner he hatter blink his eyes ter keep 'em open.'
"But her mammy wan't sassified, 'kase hit mighty hard ter haid off one'r dese yer pryin' wimmins, so she go outside an' ga'rr up some lightwood splinters an' th'ow 'em on de fire, dis-away, all uv a suddint." Here the old woman rose and threw on a handful of lightwood, which blazed up with a great sputtering, and in the strong light she stood before the fire enacting the part of the scared Owl for the delighted yet half-startled children.
"An' w'en she th'owed hit on," Aunt 'Phrony proceeded, "de fire blaze an' spit an' sputter jes' lak dis do, an' de ooman she fotched a yell an' cried out, she did, 'Lan' er de mussiful! W'at cur'ous sort er wood is dish yer dat ac' lak dis?' De Owl he wuz startle' an' he look roun' suddint, dis-a-way, over his shoulder, an' de wimmins dey let out a turr'ble screech, 'kase dey seed 'twa'n't nuttin' but a big owl settin' dar blinkin'.
"Owl seed he wuz foun' out, an' he riz up an' give his gre't, wide wings a big flop, lak dis, an' swoop out de do' cryin' 'Oo-goo-coo! Oo-goo-coo!' ez he flewed off inter de darkness." Here Aunt 'Phrony spread her arms like wings and made a swoop half-way across the room to the bedside of the startled children. "An'," she continued, "de wind howl mo'nful all night long, an' seem ter de gal an' her mammy lak 'twuz de voice of po' Oo-goo-coo mo'nin' fer de gal he love."
"And didn't he ever come back?" said Ned.
"Naw, suh, dat he didn'. He wuz too 'shame' ter come back, an' he bin so 'shame' er de trick uver sence dat he hide hisse'f way in de daytime an' nuver come out 'twel de dusk, an' den he go sweepin' an' swoopin' 'long on dem gre't big sof' wings, so quiet dat he ain' mek de ghos' uv a soun', jes' looks lak a big shadder flittin' roun' in de dusk. He teck dat time, too, 'kase he know dat 'bout den de li'l fiel' mouses an' sech ez dat comes out an' 'mences ter run roun', an' woe be unter 'em ef dey meets up wid Mistah Owl; deys a-goner, sho'."
"But how could they think an owl was a man?" asked Janey.
"Well, honey, de tale ain' tell dat, but I done study hit out dis-a-way, dat mo'n likely de gal bin turnin' up her nose at some young Injun man, an' outer spite he done gone an' got some witch ter putt a spell on her so's't de Owl 'ud look lak a man an' she 'ud go an' th'ow husse'f away on a ol' no-kyount bu'd. Yas, I reckon dat wuz 'bout de way. An' now y'all better shet up dem peepers er you'll be gittin' lak de owls, no good in de day time, an' wantin' ter be up an' prowlin' all night."