The Genial Idiot: His Views and Reviews by John Kendrick Bangs (cat reading book TXT) 📖

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to take a long-shot to do the indorsing,” said the Idiot. “Besides, under the indorsement plan you merely ask another man to be responsible for your debt, and that isn’t fair. The whole system is wrong. Every man to his own collateral, I say. Give me the bank that will lend money to the chap that needs it on the security of his own product. Mr. Whitechoker, say, is short on cash and long on sermons. My[48] style of bank would take one barrel of his sermons and salt ’em down in the safe-deposit company as security for the money he needs. The Poet here, finding the summer approaching and not a cent in hand to replenish his wardrobe, should be able to secure an advance of two or three hundred dollars on his sonnets, rondeaux, and lyrics—one dollar for each two-and-a-half-dollar sonnet, and so on. The grocer should be able to borrow money on his dried apples, his vinegar pickles, his canned asparagus, and other non-perishable assets, such as dog-biscuit, Roquefort cheese, and California raisins. The tailor seeking an accommodation of five hundred dollars should not be asked how many times he has been sentenced to jail for arson, and required to pay in ten thousand shares of Steel common, in order to get his grip on the currency, but should be approached appropriately and asked how many pairs of trousers he is willing to pledge as security for the loan.”

“I don’t know where I would come in on that proposition,” said the Doctor. “There[49] are times when we physicians need money, too.”

“Pooh!” said the Idiot. “You are not a non-producer. It doesn’t take a very smart doctor these days to produce patients, does it? You could assign your cases to the bank. One little case of hypochondria alone ought to be a sufficient guarantee of a steady income for years, properly managed. If you haven’t learned how to keep your patients in such shape that they have to send for you two or three times a week, you’d better go back to the medical school and fit yourself for your real work in life. You never knew a plumber to be so careless of his interests as to clean up a job all at once, and what the plumber is to the household, the physician should be to the individual. Same way with Mr. Brief. With the machinery of the law in its present shape there is absolutely no excuse for a lawyer who settles any case inside of fifteen years, by which time it is reasonable to suppose his client will get into some new trouble that will keep him going as a paying concern for fifteen more. There[50] isn’t a field of human endeavor in which a man applies himself industriously that does not produce something that should be a negotiable security.”

“How about burglars?” queried the Bibliomaniac.

“I stand corrected,” said the Idiot. “The burglar is an exception, but then he is an exception also at the banks. The expert burglar very seldom leaves any security for what he gets at the banks, and so he isn’t affected by the situation one way or the other.”

“Oh, well,” said Mr. Brief, rising, “it’s only a pipe-dream all the way through. They might start in on such a proposition, but it would never last. When you went in to borrow fifteen dollars, putting up your idiocy as collateral, the emptiness of the whole scheme would reveal itself.”

“You never can tell,” observed the Idiot. “Even under their present system the banks have done worse than that.”

“Never!” cried the Lawyer.

“Yes, sir,” replied the Idiot. “Only the other day I saw in the papers that a bank[51] out in Oklahoma had loaned a man ten thousand dollars on sixty thousand shares of Hot Air preferred.”

“And is that worse than Idiocy?” demanded Mr. Brief.

“Infinitely,” said the Idiot. “If a bank lost fifteen dollars on my idiocy it would be out ninety-nine hundred and eighty-five dollars less than that Oklahoma institution is on its hot-air loan.”

“Bosh! What’s Hot Air worth on the Exchange to-day?”

“As a selling proposition, zero and commissions off,” said the Idiot. “Fact is, they’ve changed its name. It is now known as International Nitting.”

[52] V

HE SUGGESTS A COMIC OPERA

THERE’S a harvest for you,” said the Idiot, as he perused a recently published criticism of a comic opera. “There have been thirty-nine new comic operas produced this year and four of ’em were worth seeing. It is very evident that the Gilbert and Sullivan industry hasn’t gone to the wall whatever slumps other enterprises have suffered from.”

“That is a goodly number,” said the Poet. “Thirty-nine, eh? I knew there was a raft of them, but I had no idea there were as many as that.”

“Why don’t you go in and do one, Mr. Poet?” suggested the Idiot. “They tell me it’s as easy as rolling off a log. All you’ve got[53] to do is to forget all your ideas and remember all the old jokes you ever heard, slap ’em together around a lot of dances, write two dozen lyrics about some Googoo Belle, hire a composer, and there you are. Hanged if I haven’t thought of writing one myself.”

“I fancy it isn’t as easy as it looks,” observed the Poet. “It requires just as much thought to be thoughtless as it does to be thoughtful.”

“Nonsense,” said the Idiot. “I’d undertake the job cheerfully if some manager would make it worth my while, and, what’s more, if I ever got into the swing of the business I’ll bet I could turn out a libretto a day for three days of the week for the next two months.”

“If I had your confidence I’d try it,” laughed the Poet, “but, alas! in making me Nature did not design a confidence man.”

“Nonsense, again,” said the Idiot. “Any man who can get the editors to print sonnets to ‘Diana’s Eyebrow,’ and little lyrics of Madison Square, Longacre Square, Battery Place, and Boston Common, the way you do,[54] has a right to consider himself an adept at bunco. I tell you what I’ll do with you: I’ll swap off my confidence for your lyrical facility, and see what I can do. Why can’t we collaborate and get up a libretto for next season? They tell me there’s large money in it.”

“There certainly is if you catch on,” said the Poet. “Vastly more than in any other kind of writing that I know. I don’t know but that I would like to collaborate with you on something of the sort. What is your idea?”

“Mind’s a blank on the subject,” sighed the Idiot. “That’s the reason I think I can turn the trick. As I said before, you don’t need ideas. Better go without ’em. Just sit down and write.”

“But you must have some kind of a story,” persisted the Poet.

“Not to begin with,” said the Idiot. “Just write your choruses and songs, slap in your jokes, fasten ’em together, and the thing is done. First act, get your hero and heroine into trouble. Second act, get ’em out.”

[55] “And for the third?” queried the Poet.

“Don’t have a third,” said the Idiot. “A third is always superfluous; but, if you must have it, make up some kind of a vaudeville show and stick it in between the first and second.”

“Tush!” said the Bibliomaniac. “That would make a gay comic opera.”

“Of course it would, Mr. Bib,” the Idiot agreed. “And that’s what we want. If there’s anything in this world that I hate more than another it is a sombre comic opera. I’ve been to a lot of ’em, and I give you my word of honor that next to a funeral a comic opera that lacks gayety is one of the most depressing functions known to modern science. Some of ’em are enough to make an undertaker weep with jealous rage. I went to one of ’em last week called ‘The Skylark,’ with an old chum of mine who is a surgeon. You can imagine what sort of a thing it was when I tell you that after the first act he suggested we leave the theatre and come back here and have some fun cutting my leg off. He vowed that if he ever[56] went to another opera by the same people he’d take ether beforehand.”

“I shouldn’t think that would be necessary,” sneered the Bibliomaniac. “If it was as bad as all that, why didn’t it put you to sleep?”

“It did,” said the Idiot. “But the music kept waking us up again. There was no escape from it except that of actual physical flight.”

“Well, about this collaboration of ours,” suggested the Poet. “What do you think we should do first?”

“Write an opening chorus, of course,” said the Idiot. “What did you suppose? A finale? Something like this:

“If you want to know who we are,
Just ask the Evening Star,
As he smiles on high
In the deep-blue sky,
With his tralala-la-la-la.
We are maidens sweet
With tripping feet,
And the googoo eyes
Of the skippity-hi’s,[57]
And the smile of the fair gazoo;
And you’ll find our names
’Mongst the wondrous dames
Of the Who’s Who-hoo-hoo-hoo.”

“Get that sung with spirit by sixty-five ladies with blond wigs and gold slippers, otherwise dressed up in the uniform of a troop of Russian cavalry, and you’ve got your venture launched.”

“Where can you find people like that?” asked the Bibliomaniac.

“New York’s full of ’em,” replied the Idiot.

“I don’t mean the people to act that sort of thing—but where would you lay your scene?” explained the Bibliomaniac.

“Oh, any old place in the Pacific Ocean,” said the Idiot. “Make your own geography—everybody else does. There’s a million islands out there of one kind or another, and as defenceless as a two-weeks’-old infant. If you want a real one, fish it out and fire ahead. If you don’t, make one up for yourself and call it ‘The Isle of Piccolo,’ or something of that sort. After you’ve got your chorus going, introduce your villain, who[58] should be a man with a deep bass voice and a piratical past. He’s the chap who rules the roost and is going to marry the heroine to-morrow. That will make a bully song:

“I’m a pirate bold
With a heart so cold
That it turns the biggest joys to solemn sorrow;
And the hero-ine,
With her eyes so fine,
I am going to—marry—to-morrow.

CHORUS

“He is go-ing to-marry—to-morrow
The maid with a heart full of sorrow;
For her we are sorry
For she weds to-morry—
She is going to-marry—to-morrow.”

“Gee!” added the Idiot, enthusiastically, “can’t you almost hear that already?”

“I am sorry to say,” said Mr. Brief, “that I can. You ought to call your heroine Drivelina.”

“Splendid!” cried the Idiot. “Drivelina goes. Well, then, on comes Drivelina, and this beast of a pirate grabs her by the hand and makes love to her as if he thought wooing[59] was a game of snap-the-whip. She sings a soprano solo of protest, and the pirate summons his hirelings to cast Drivelina into a Donjuan cell, when boom! an American war-ship appears on the horizon. The crew, under the leadership of a man with a squeaky tenor voice, named Lieutenant Somebody or Other, comes ashore, puts Drivelina under the protection of the American flag, while his crew sing the following:

“We are jackies, jackies, jackies,
And we smoke the best tobaccys
You can find from Zanzibar to Honeyloo.
And we fight for Uncle Sammy,
Yes, indeed we do, for damme
You can bet your life that that’s the thing to do,
Doodle-do!
You can bet your life that that’s the thing to doodle—doodle—doodle—doodle-do.”

“Eh! What?” demanded the Idiot.

“Well—what yourself?” asked the Lawyer. “This is your job. What next?”

“Well—the pirate gets lively, tries to assassinate the lieutenant, who kills half[60] the natives with his sword, and is about to slay the pirate when he discovers that he is his long-lost father,” said the Idiot. “The heroine then sings a pathetic love-song about her baboon baby, in a green light to the accompaniment of a lot of pink satin monkeys banging cocoanut-shells together. This drowsy lullaby puts the

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