A Thousand and One Afternoons in Chicago Part 35

Mrs. Balmer got dressed and called the janitor. There was no doubt in her mind where the noises came from. Some of the roomers were awake and looking sleepily and frightenedly out of their doorways. Mrs. Balmer and the janitor hurried to the back room on the third floor. It was Crawford screaming.

His door was closed, but it opened when the janitor turned the k.n.o.b. Mr.

Crawford was standing in front of the portieres in the too-brightly lighted room and screaming. His arms, as if overcoming some awful resistance, shot out, and his hands seized the portieres. With the amazing screams still coming from his throat, Mr. Crawford tore crazily at the portieres until they ripped from the rod above the folding-door. They came down and the man fell with them. Over him, hanging on the "clothes-closet"

hooks, were revealed an old straw hat, an old coat and a worn shirt.

"You see," said Mrs. Balmer to the police sergeant, "he was afraid of something and he couldn't stand the dark. And the portieres always frightened him. But the doctor wasn't able to do anything with him. The doctor says there was some secret about it and that Mr. Crawford went crazy because of this secret. The only thing they found out about him was that he used to be a sailor."

AN OLD AUDIENCE SPEAKS

Tired, madam? That is nothing remarkable. So are we, whose faces you see from across the footlights, faces like rows of wilted plants in the gloom of this decrepit theater. We are all very tired.

It is Sat.u.r.day afternoon. For a little while yesterday there was spring in the streets. But now it has grown cold again. The wind blows. The buildings wear a bald, cheerless look.

What are we tired about? G.o.d knows. Perhaps because winter is so long in pa.s.sing. Or, perhaps, because spring will be so long in pa.s.sing. Tired of waiting for tomorrow.

So you dance for us. We have paid 50 cents each to see the show. This abominable orchestra is out of tune. The fiddles sc.r.a.pe, the piano makes clattering sounds. And you, madam, are tired. The gay purple tights, the gilded bodice, the sultana's toque, or whatever it is, do not deceive us.

Your legs, madam, are not as shapely as they were once. And your body--ah, bodies grow old.

Yes, we are not deceived, madam. You have come to us--last. There were others before us, others reaching far back, to whom you gave your youth.

Others for whom you danced when your legs were, perhaps, like two spring mornings, and when your body was, perhaps, like a pretty laugh.

Here are the tired ones. From the South Clark and South State streets bed-houses. The kinds of faces that the smart movie directors hire as "types" for the underworld scenes or the slum scenes.

It is Sat.u.r.day afternoon and we walked up and down the street, looking at the lithographs outside the decrepit theater fronts. And when it got too cold to walk any farther we dropped in, forking out four bits for the privilege.

And we expect nothing, madam. There will be no great music for us. And what scenery there is behind the footlights will be faded and patched. The jokes will be things that make no one laugh. And the dancers, madam, will be like you. Tired, heavy-faced dancers, whose legs flop, whose bodies bounce while the abominable orchestra plays.

But it is warm where we sit. We half shut our eyes and tired little dreams come to us. And you, madam, going wearily through your steps, are the Joy of Life. Your hoa.r.s.e voice, singing indecipherable words about dearie and honey and my jazz baby, your sagging shoulders layered with powder and jerking to the music, the rigid, lifeless grin of your cruelly painted lips--these things and the torn, smeared papier-mache ballroom interior--these are the Joy of Life.

Tired little dreams, worth almost the four bits. Do you remember other audiences, madam? As we remember other dancers? Do you recall the gay, dark glow of ornate auditoriums, and do you remember when you were young and there were many tomorrows? As we do? Oh, dearie, dearie, how mah heart grows weary, waitin' for mah baby for to come back home. Very good, madam.

Although the voice is a bit cracked. Now dance. Lumber across the stage in your purple tights, wiggle around in your sultana's toque. That's the baby. And kick your legs at us as you exit. Ah, what a kick! But never mind. It is quite good enough for us. And--it reminds us.

We applaud. Does the noise sound ghastly? What is it we applaud? G.o.d knows. But applause is a habit. One applauds in a theater. How does it sound in the wings to you, madam, our applause? Rather meaningless, eh?

And not interesting at all? Ah, we forgive you for that, for not feeling a great thrill at our applause. Nevertheless, it is a rather piquant thing, our applause. Considering how cold it is outside, how long winter is in pa.s.sing. Considering how cheerless the buildings look.

Put on the red ball gown and come out and crack jokes with the hop-headed-looking juvenile lead. Greetings, madam. How marvelous you look in this ball gown! Ah, indeed! You were walking down the street the other day and chanced to meet. Hm, we've heard that joke, but we'll laugh again.

Matrimony. I'll tell you what marriage is. A lottery. Yes, we've heard that one, too. Accept our laughter, nevertheless.

Your jokes, madam, are neither young nor refined. But--neither are we. And your wit is somewhat coa.r.s.e and pointless. But so are we. And your voice is a trifle tired and cracked and loud. But so is our laughter. We are even, quite even, madam. If you were better once, so were we. If you remember sweeter laughter, why we remember more charming jests. Go on, Dolores, our lady of jokes, you're worth the four bits.

Now the street seems a bit colder because it was warmer in the theater.

Where do we go from here? Up and down, up and down the old street. A very pleasant afternoon. Spent in laughter and applause. Once there was booze for a nickel and a dime. But it was found necessary to improve the morals of the nation. No booze today.

That is quite a brave photograph of you outside the theater, madam. The Dancing Venus. If we had tears we would shed them. The Dancing Venus, indeed! We smile as you smiled yourself when you saw it for the first time. But--good-by. Master Francois Villon sang it all long ago.

Yesterdays, yesterdays, here is a street of yesterdays.

And we, the tired ones, the brutal-faced, bitter-eyed ones, the beaten ones--we walk up and down the cold street, peering at the cheerless buildings. Life takes a long time to pa.s.s. But without changing our bitter, brutal faces we bow this afternoon, madam, to the memory of you.

We paid four bits to see you. Our Lady of Jokes, and in this cold, sunless street we grin, we smirk, we leer a salutation to your photograph and the phrase beneath it that laughs mockingly back at us--Oh, Dancing Venus!

MISHKIN'S MINYON

We were discussing vacations and Sammy, who is eleven years old going on twelve, listened nervously to his father. Finally Sammy spoke up:

"I won't go," he bristled. "No, I won't if I gotta tell the conductor I'm under five. I ain't going."

Sammy's father coughed with some embarra.s.sment.

"Sha!" said Feodor Mishkin, removing his attention from the bowl of fruit, "I see it takes more than naturalization papers to change a _landsmann_ from Kremetchuk." And he fastened a humorous eye upon Sammy's father.

"It's like this," continued the Falstaffian one from Roosevelt Road: "In Russia where my friend here, Hershela comes from, that is in Russia of the good old days where there were pogroms and ghettos and _provocateurs_--ah, I grow homesick for that old Russia sometimes--the Jews were not always so honest as they might be. Don't interrupt me, Hershela. My friend here I want to tell a story to is a journalist and he will understand I am no 'antishemite' if I explain how it is that you want your son Sammy to tell the conductor he is under five."

Turning to me Mishkin grinned and proceeded.

"The Jews, as you know, are great travelers," he said. "They have traveled more than all the other peoples put together. And yet, they don't like to pay car fare, in Russia, particular. I can remember my father, who was a good rabbi and a holy man. Yes, but when it came time to ride on the train from one city to another he would fold up his long beard and crawl under the seat.

"It was only on such an occasion that my father would talk to a woman. He would actually rather cut off his right hand than talk to a woman in public that he didn't know. This was because Rabbi Mishkin, my father, was a holy man. But he was not above asking a woman to spread out her skirts so that the inspector coming through the train couldn't see him under the seat.

"Of course, you had to pay the conductors. But a ruble was enough, not ten or twenty rubles like the fare called for. And the conductors were always glad to have Jews ride on their train because it meant a private revenue for them. I remember that the conductors on the line running through Kremetchuk had learned a few words of Yiddish. For instance, when the train would stop at a station the conductor would walk up and down the platform and cry out a few times--_mu kennt_. This meant that the inspector wasn't on the train and you could jump on and hide under the seats. Or if the inspector was on the train the conductor would walk up and down and yell a few times, _Malchamovis_! This is a Hebrew word that means Evil Angel and it was the signal for nothing doing.

"The story I remember is on a train going but of Kiev," said Mishkin.

"Years ago it was. I was sitting in the train reading some Russian papers when I heard three old Jews talking. They had long white beards and there were marks on their foreheads from where they laid twillum. Yes, I saw that they were holy men and pretty soon I heard that they were upset about something. You know what? I'll tell you.

"For a religious Jew in the old country to pa.s.s an evening without a minyon is a sin. A minyon is a prayer that is said at evening. And to make a minyon there must be ten Jews. And they must stand up when they pray. Of course, if you are somewhere where there are no ten Jews, then maybe it's all right to say it with three or four Jews only.

"So these holy men on the train were arguing if they should have a minyon or not because there were only three of them. But finally they decided after a theological discussion that it would be all right to have the minyon. It was dark already and the train was going fast and the three Jews stood up in their place at the end of the car and began the prayer.

"And pretty soon I began to hear voices. Yes, from under nearly every seat. Voices praying. A mumble-b.u.mble that filled the car. I didn't know what to make of it for a few minutes. But then I remembered. Of course, the car was full of rabbis or at least holy men and they were as usual riding with their beards folded up under the seats.

"So," smiled Mishkin, "the prayer continued and some of the pa.s.sengers who were listening began to smile. You can imagine. But the three Jews paid no attention. They went on with the minyon. And now, listen, now comes the whole story You will laugh. But it is true. I saw it with my own eyes.