Americans All Part 6

MYRA KELLY

Is it necessary to say that she was Irish? The humor, the sympathy, the quick understanding, the tenderness, that play through all her stories are the birthright of the children of Erin. Myra Kelly was born in Dublin, Ireland. Her father was Dr. John E. Kelly, a well-known surgeon.

When Myra was little more than a baby, the family came to New York City.

Here she was educated at the Horace Mann High School, and afterwards at Teachers College, a department of Columbia University, New York. She graduated from Teachers College in 1899. Her first school was in the primary department of Public School 147, on East Broadway, New York, where she taught from 1899 to 1901. Here she met all the "little aliens," the Morris and Isidore, Yetta and Eva of her stories, and won her way into their hearts. To her friends she would sometimes tell of these children, with their odd ideas of life and their dialect. "Why don't you write these stories down?" they asked her, and at last she sat down and wrote her first story, "A Christmas Present for a Lady." She had no knowledge of editorial methods, so she made four copies of the story and sent them to four different magazines. Two of them returned the story, and two of them accepted it, much to her embarra.s.sment. The two acceptances came from _McClure's Magazine_ and _The Century_. As _McClure's_ replied first she gave the story to them, and most of her other stories were first published in that magazine.

When they appeared in book form, they were welcomed by readers all over the country. Even the President of the United States wrote to express his thanks to her, in the following letter:

Oyster Bay, N. Y.

July, 26, 1905.

My dear Miss Kelly:--

Mrs. Roosevelt and I and most of the children know your very amusing and very pathetic accounts of East Side school children almost by heart, and I really think you must let me write and thank you for them. When I was Police Commissioner I quite often went to the Houston Street public school, and was immensely impressed by what I saw there. I thought there were a good many Miss Baileys there, and the work they were doing among their scholars (who were largely of Russian-Jewish parentage like the children you write of) was very much like what your Miss Bailey has done.

Very sincerely yours, Theodore Roosevelt.

After two years of school room work, Miss Kelly's health broke down, and she retired from teaching, although she served as critic teacher in the Speyer School, Teachers College, for a year longer. One of the persons who had read her books with delight was Allen Macnaughton. Soon after he met Miss Kelly, and in 1905 they were married. They lived for a time at Oldchester Village, New Jersey, in the Orange mountains, in a colony of literary people which her husband was interested in establishing. After several years of very successful literary work, she developed tuberculosis. She went to Torquay, England, in search of health, and died there March 31, 1910.

Her works include the following t.i.tles: _Little Citizens_; _The Isle of Dreams_; _Wards of Liberty_; _Rosnah_; _the Golden Season_; _Little Aliens_; _New Faces_. One of the leading magazines speaks of her as the creator of a new dialect.

HERO WORSHIP

_Most of us are hero-worshippers at some time of our lives. The boy finds his hero in the baseball player or athlete, the girl in the matinee idol, or the "movie" star. These objects of worship are not always worthy of the adoration they inspire, but this does not matter greatly, since their worshippers seldom find it out. There is something fine in absolute loyalty to an ideal, even if the ideal is far from reality. "The Tenor" is the story of a famous singer and two of his devoted admirers_.

THE TENOR[1]

BY

H. C. BUNNER

It was a dim, quiet room in an old-fashioned New York house, with windows opening upon a garden that was trim and attractive, even in its wintry days--for the rose-bushes were all bundled up in straw ulsters.

The room was ample, yet it had a cosy air. Its dark hangings suggested comfort and luxury, with no hint of gloom. A hundred pretty trifles told that it was a young girl's room: in the deep alcove nestled her dainty white bed, draped with creamy lace and ribbons.

"I was _so_ afraid that I'd be late!"

The door opened, and two pretty girls came in, one in hat and furs, the other in a modest house dress. The girl in the furs, who had been afraid that she would be late, was fair, with a bright color in her cheeks, and an eager, intent look in her clear brown eyes. The other girl was dark-eyed and dark-haired, dreamy, with a soft, warm dusky color in her face. They were two very pretty girls indeed--or, rather, two girls about to be very pretty, for neither one was eighteen years old.

The dark girl glanced at a little porcelain clock.

"You are in time, dear," she said, and helped her companion to take off her wraps.

Then the two girls crossed the room, and with a caressing and almost a reverent touch, the dark girl opened the doors of a little carven cabinet that hung upon the wall, above a small table covered with a delicate white cloth. In its depths, framed in a mat of odorous double violets, stood the photograph of the face of a handsome man of forty--a face crowned with cl.u.s.tering black locks, from beneath which a pair of large, mournful eyes looked out with something like religious fervor in their rapt gaze. It was the face of a foreigner.

"O Esther!" cried the other girl, "how beautifully you have dressed him to-day!"

"I wanted to get more," Esther said; "but I've spent almost all my allowance--and violets do cost so shockingly. Come, now--" with another glance at the clock--"don't let's lose any more time, Louise dear."

She brought a couple of tiny candles in Sevres candlesticks, and two little silver saucers, in which she lit fragrant pastilles. As the pale gray smoke arose, floating in faint wreaths and spirals before the enshrined photograph, Louise sat down and gazed intently upon the little altar. Esther went to her piano and watched the clock. It struck two.

Her hands fell softly on the keys, and, studying a printed program in front of her, she began to play an overture. After the overture she played one or two pieces of the regular concert stock. Then she paused.

"I can't play the Tschaikowski piece."

"Never mind," said the other. "Let us wait for him in silence."

The hands of the clock pointed to 2:29. Each girl drew a quick breath, and then the one at the piano began to sing softly, almost inaudibly, "les Rameaux" in a transcription for tenor of Faure's great song. When it was ended, she played and sang the _encore_. Then, with her fingers touching the keys so softly that they awakened only an echo-like sound, she ran over the numbers that intervened between the first tenor solo and the second. Then she sang again, as softly as before.

The fair-haired girl sat by the little table, gazing intently on the picture. Her great eyes seemed to devour it, and yet there was something absent-minded, speculative, in her steady look. She did not speak until Esther played the last number on the program.

"He had three encores for that last Sat.u.r.day," she said, and Esther played the three encores.

Then they closed the piano and the little cabinet, and exchanged an innocent girlish kiss, and Louise went out, and found her father's coupe waiting for her, and was driven away to her great, gloomy, brown-stone home near Central Park.

Louise Laura Latimer and Esther Van Guilder were the only children of two families which, though they were possessed of the three "Rs" which are all and more than are needed to insure admission to New York society--Riches, Respectability and Religion--yet were not in Society; or, at least, in the society that calls itself Society. This was not because Society was not willing to have them. It was because they thought the world too worldly. Perhaps this was one reason--although the social horizon of the two families had expanded somewhat as the girls grew up--why Louise and Esther, who had been playmates from their nursery days, and had grown up to be two uncommonly sentimental, fanciful, enthusiastically morbid girls, were to be found spending a bright Winter afternoon holding a ceremonial service of worship before the photograph of a fashionable French tenor.

It happened to be a French tenor whom they were worshiping. It might as well have been anybody or any thing else. They were both at that period of girlish growth when the young female bosom is torn by a hysterical craving to worship something--any thing. They had been studying music and they had selected the tenor who was the sensation of the hour in New York for their idol. They had heard him only on the concert stage; they were never likely to see him nearer. But it was a mere matter of chance that the idol was not a Boston Transcendentalist, a Popular Preacher, a Faith-Cure Healer, or a ringleted old maid with advanced ideas of Woman's Mission. The ceremonies might have been different in form: the worship would have been the same.

M. Hyppolite Remy was certainly the musical hero of the hour. When his advance notices first appeared, the New York critics, who are a singularly unconfiding, incredulous lot, were inclined to discount his European reputation.

When they learned that M. Remy was not only a great artist, but a man whose character was "wholly free from that deplorable laxity which is so often a blot on the proud escutcheon of his n.o.ble profession;" that he had married an American lady; that he had "embraced the Protestant religion"--no sect was specified, possibly to avoid jealousy--and that his health was delicate, they were moved to suspect that he might have to ask that allowances be made for his singing. But when he arrived, his triumph was complete. He was as handsome as his picture, if he _was_ a trifle short, a shade too stout.

He was a singer of genius, too; with a splendid voice and a sound method--on the whole. It was before the days of the Wagner autocracy, and perhaps his tremolo pa.s.sed unchallenged as it could not now; but he was a great artist. He knew his business as well as his advance-agent knew his. The Remy Concerts were a splendid success. Reserved seats, $5.

For the Series of Six, $25.

On the following Monday, Esther Van Guilder returned her friend's call, in response to an urgent invitation, despatched by mail. Louise Latimer's great bare room was incapable of trans.m.u.tation into a cosy nest of a boudoir. There was too much of its heavy raw silk furniture--too much of its vast, sarcophagus-like bed--too much of its upholsterer's elegance, regardless of cost--and taste. An enlargement from an ambrotype of the original Latimer, as he arrived in New York from New Hampshire, and a photograph of a "child subject" by Millais, were all her works of art. It was not to be doubted that they had climbed upstairs from a front parlor of an earlier stage of social development. The farm-house was six generations behind Esther; two behind Louise.

Esther found her friend in a state of almost feverish excitement. Her eyes shone; the color burned high on her clear cheeks.

"You never would guess what I've done, dear!" she began, as soon as they were alone in the big room. "I'm going to see _him_--to speak to him--_Esther!_" Her voice was solemnly hushed, "to _serve_ him!"

"Oh, Louise! what _do_ you mean?"

"To serve him--with my own hands! To--to--help him on with his coat--I don't know--to do something that a servant does--anything, so that I can say that once, once only, just for an hour, I have been near him, been of use to him, served him in one little thing as loyally as he serves OUR ART."

Music was THEIR art, and no capitals could tell how much it was theirs or how much of an art it was.