Short Fiction O. Henry (comprehension books TXT) 📖

to come, when I heard voices inside. She had come into the room with her father, and Old Man Hinkle began to talk to her. I had observed before that he was a shrewd man, and not unphilosophic.

“Ily,” said he, “I notice there’s three or four young fellers that have been callin’ to see you regular for quite a while. Is there any one of ’em you like better than another?”

“Why, pa,” she answered, “I like all of ’em very well. I think Mr. Cunningham and Mr. Jacks and Mr. Harris are very nice young men. They are so frank and honest in everything they say to me. I haven’t known Mr. Vesey very long, but I think he’s a very nice young man, he’s so frank and honest in everything he says to me.”

“Now, that’s what I’m gittin’ at,” says old Hinkle. “You’ve always been sayin’ you like people what tell the truth and don’t go humbuggin’ you with compliments and bogus talk. Now, suppose you make a test of these fellers, and see which one of ’em will talk the straightest to you.”

“But how’ll I do it, pa?”

“I’ll tell you how. You know you sing a little bit, Ily; you took music-lessons nearly two years in Logansport. It wasn’t long, but it was all we could afford then. And your teacher said you didn’t have any voice, and it was a waste of money to keep on. Now, suppose you ask the fellers what they think of your singin’, and see what each one of ’em tells you. The man that’ll tell you the truth about it’ll have a mighty lot of nerve, and’ll do to tie to. What do you think of the plan?”

“All right, pa,” said Ileen. “I think it’s a good idea. I’ll try it.”

Ileen and Mr. Hinkle went out of the room through the inside doors. Unobserved, I hurried down to the station. Jacks was at his telegraph table waiting for eight o’clock to come. It was Bud’s night in town, and when he rode in I repeated the conversation to them both. I was loyal to my rivals, as all true admirers of all Ileens should be.

Simultaneously the three of us were smitten by an uplifting thought. Surely this test would eliminate Vesey from the contest. He, with his unctuous flattery, would be driven from the lists. Well we remembered Ileen’s love of frankness and honesty⁠—how she treasured truth and candor above vain compliment and blandishment.

Linking arms, we did a grotesque dance of joy up and down the platform, singing “Muldoon Was a Solid Man” at the top of our voices.

That evening four of the willow rocking-chairs were filled besides the lucky one that sustained the trim figure of Miss Hinkle. Three of us awaited with suppressed excitement the application of the test. It was tried on Bud first.

“Mr. Cunningham,” said Ileen, with her dazzling smile, after she had sung “When the Leaves Begin to Turn,” “what do you really think of my voice? Frankly and honestly, now, as you know I want you to always be toward me.”

Bud squirmed in his chair at his chance to show the sincerity that he knew was required of him.

“Tell you the truth, Miss Ileen,” he said, earnestly, “you ain’t got much more voice than a weasel⁠—just a little squeak, you know. Of course, we all like to hear you sing, for it’s kind of sweet and soothin’ after all, and you look most as mighty well sittin’ on the piano-stool as you do faced around. But as for real singin’⁠—I reckon you couldn’t call it that.”

I looked closely at Ileen to see if Bud had overdone his frankness, but her pleased smile and sweetly spoken thanks assured me that we were on the right track.

“And what do you think, Mr. Jacks?” she asked next.

“Take it from me,” said Jacks, “you ain’t in the prima donna class. I’ve heard ’em warble in every city in the United States; and I tell you your vocal output don’t go. Otherwise, you’ve got the grand opera bunch sent to the soap factory⁠—in looks, I mean; for the high screechers generally look like Mary Ann on her Thursday out. But nix for the gargle work. Your epiglottis ain’t a real side-stepper⁠—its footwork ain’t good.”

With a merry laugh at Jacks’ criticism, Ileen looked inquiringly at me.

I admit that I faltered a little. Was there not such a thing as being too frank? Perhaps I even hedged a little in my verdict; but I stayed with the critics.

“I am not skilled in scientific music, Miss Ileen,” I said, “but, frankly, I cannot praise very highly the singing-voice that Nature has given you. It has long been a favorite comparison that a great singer sings like a bird. Well, there are birds and birds. I would say that your voice reminds me of the thrush’s⁠—throaty and not strong, nor of much compass or variety⁠—but still⁠—er⁠—sweet⁠—in⁠—er⁠—its⁠—way, and⁠—er⁠—”

“Thank you, Mr. Harris,” interrupted Miss Hinkle. “I knew I could depend upon your frankness and honesty.”

And then C. Vincent Vesey drew back one sleeve from his snowy cuff, and the water came down at Lodore.

My memory cannot do justice to his masterly tribute to that priceless, God-given treasure⁠—Miss Hinkle’s voice. He raved over it in terms that, if they had been addressed to the morning stars when they sang together, would have made that stellar choir explode in a meteoric shower of flaming self-satisfaction.

He marshalled on his white fingertips the grand opera stars of all the continents, from Jenny Lind to Emma Abbott, only to depreciate their endowments. He spoke of larynxes, of chest notes, of phrasing, arpeggios, and other strange paraphernalia of the throaty art. He admitted, as though driven to a corner, that Jenny Lind had a note or two in the high register that Miss Hinkle had not yet acquired⁠—but⁠—“!!!”⁠—that was a mere matter of practice and training.

And, as a peroration, he predicted⁠—solemnly predicted⁠—a career in vocal art for the “coming star of the Southwest⁠—and one of which grand old Texas