The Strength of Gideon by Paul Laurence Dunbar (motivational books for men .TXT) 📖

/> All that day as Silas blundered about slowly and awkwardly, he looked with wonder and admiration at the ease and facility with which his teacher and the other men did their work. They were so calm, so precise, and so self-sufficient. He wondered if he would ever be like them, and felt very hopeless as the question presented itself to him.

They were a little prone to laugh at him, but he was so humble and so sensible that he thought he must be laughable; so he laughed a little shamefacedly at himself, and only tried the harder to imitate his companions. Once when he dropped a dish upon the floor, he held his breath in consternation, but when he found that no one paid any attention to it, he picked it up and went his way.

He was tired that night, more tired than ploughing had ever made him, and was thankful when Smith proposed to show him at once to the rooms apportioned to the servants. Here he sank down and fell into a doze as soon as his companion left him with the remark that he had some studying to do. He found afterward that Smith was only a temporary employee at the Springs, coming there during the vacations of the school which he attended, in order to eke out the amount which it cost him for his education. Silas thought this a very wonderful thing at first, but when he grew wiser, as he did finally, he took the point of view of most of his fellows and thought that Smith was wasting both time and opportunities.

It took a very short time for Silas's unfamiliarity with his surroundings to wear off, and for him to become acquainted with the duties of his position. He grew at ease with his work, and became a favorite both in dining-room and kitchen. Then began his acquaintance with other things, and there were many other things at the Springs which an unsophisticated young man might learn.

Silas's social attainments were lamentably sparse, but being an apt youngster, he began to acquire them, quite as he acquired his new duties, and different forms of speech. He learned to dance--almost a natural gift of the negro--and he was introduced into the subtleties of flirtation. At first he was a bit timid with the nurse-girls and maids whom the wealthy travelers brought with them, but after a few lessons from very able teachers, he learned the manly art of ogling to his own satisfaction, and soon became as proficient as any of the other black coxcombs.

If he ever thought of Dely Manly any more, it was with a smile that he had been able at one time to consider her seriously. The people at home, be it said to his credit, he did not forget. A part of his wages went back every month to help better the condition of the cabin. But Silas himself had no desire to return, and at the end of a year he shuddered at the thought of it. He was quite willing to help his father, whom he had now learned to call the "old man," but he was not willing to go back to him.


II

Early in his second year at the Springs Marston came for a stay at the hotel. When he saw his protege, he exclaimed: "Why, that isn't Si, is it?"

"Yes, suh," smiled Silas.

"Well, well, well, what a change. Why, boy, you've developed into a regular fashion-plate. I hope you're not advertising for any of the Richmond tailors. They're terrible Jews, you know."

"You see, a man has to be neat aroun' the hotel, Mistah Ma'ston."

"Whew, and you've developed dignity, too. By the Lord Harry, if I'd have made that remark to you about a year and a half ago, there at the cabin, you'd have just grinned. Ah, Silas, I'm afraid for you. You've grown too fast. You've gained a certain poise and ease at the expense of--of--I don't know what, but something that I liked better. Down there at home you were just a plain darky. Up here you are trying to be like me, and you are colored."

"Of co'se, Mistah Ma'ston," said Silas politely, but deprecatingly, "the worl' don't stan' still."

"Platitudes--the last straw!" exclaimed Mr. Marston tragically. "There's an old darky preacher up at Richmond who says it does, and I'm sure I think more of his old fog-horn blasts than I do of your parrot tones. Ah! Si, this is the last time that I shall ever fool with good raw material. However, don't let this bother you. As I remember, you used to sing well. I'm going to have some of my friends up at my rooms to-night; get some of the boys together, and come and sing for us. And remember, nothing hifalutin; just the same old darky songs you used to sing."

"All right, suh, we'll be up."

Silas was very glad to be rid of his old friend, and he thought when Marston had gone that he was, after all, not such a great man as he had believed. But the decline in his estimation of Mr. Marston's importance did not deter him from going that night with three of his fellow-waiters to sing for that gentleman. Two of the quartet insisted upon singing fine music, in order to show their capabilities, but Silas had received his cue, and held out for the old songs. Silas Jackson's tenor voice rang out in the old plantation melodies with the force and feeling that old memories give. The concert was a great success, and when Marston pressed a generous-sized bank-note into his hand that night, he whispered, "Well, I'm glad there's one thing you haven't lost, and that's your voice."

That was the beginning of Silas's supremacy as manager and first tenor of the Fountain Hotel Quartet, and he flourished in that capacity for two years longer; then came Mr. J. Robinson Frye, looking for talent, and Silas, by reason of his prominence, fell in this way.

Mr. J. Robinson Frye was an educated and enthusiastic young mulatto gentleman, who, having studied music abroad, had made art his mistress. As well as he was able, he wore the shock of hair which was the sign manual of his profession. He was a plausible young man of large ideas, and had composed some things of which the critics had spoken well. But the chief trouble with his work was that his one aim was money. He did not love the people among whom American custom had placed him, but he had respect for their musical ability.

"Why," he used to exclaim in the sudden bursts of enthusiasm to which he was subject, "why, these people are the greatest singers on earth. They've got more emotion and more passion than any other people, and they learn easier. I could take a chorus of forty of them, and with two months' training make them sing the roof off the Metropolitan Opera house."

When Mr. Frye was in New York, he might be seen almost any day at the piano of one or the other of the negro clubs, either working at some new inspiration, or playing one of his own compositions, and all black clubdom looked on him as a genius.

His latest scheme was the training of a colored company which should do a year's general singing throughout the country, and then having acquired poise and a reputation, produce his own opera.

It was for this he wanted Silas, and in spite of the warning and protests of friends, Silas went with him to New York, for he saw his future loom large before him.

The great city frightened him at first, but he found there some, like himself, drawn from the smaller towns of the South. Others in the company were the relics of the old days of negro minstrelsy, and still others recruited from the church choirs in the large cities. Silas was an adaptable fellow, but it seemed a little hard to fall in with the ways of his new associates. Most of them seemed as far away from him in their knowledge of worldly things as had the waiters at the Springs a few years before. He was half afraid of the chorus girls, because they seemed such different beings from the nurse girls down home. However, there was little time for moping or regrets. Mr. Frye was, it must be said, an indefatigable worker. They were rehearsing every day. Silas felt himself learning to sing. Meanwhile, he knew that he was learning other things--a few more elegancies and vices. He looked upon the "rounders" with admiration and determined to be one. So, after rehearsals were over other occupations held him. He came to be known at the clubs and was quite proud of it, and he grew bolder with the chorus girls, because he was to be a star.

After three weeks of training, the company opened, and Silas, who had never sung anything heavier than "Bright Sparkles in the Churchyard," was dressed in a Fauntleroy suit, and put on to sing in a scene from "Rigoletto."

Every night he was applauded to the echo by "the unskilful," until he came to believe himself a great singer. This belief was strengthened when the girl who performed the Spanish dance bestowed her affections upon him. He was very happy and very vain, and for the first time he forgot the people down in a little old Virginia cabin. In fact, he had other uses for his money.

For the rest of the season, either on the road or in and about New York, he sang steadily. Most of the things for which he had longed and had striven had come to him. He was known as a rounder, his highest ambition. His waistcoats were the loudest to be had. He was possessed of a factitious ease and self-possession that was almost aggression. The hot breath of the city had touched and scorched him, and had dried up within him whatever was good and fresh. The pity of it was that he was proud of himself, and utterly unconscious of his own degradation. He looked upon himself as a man of the world, a fine product of the large opportunities of a great city.

Once in those days he heard of Smith, his old-time companion at the Springs. He was teaching at some small place in the South. Silas laughed contemptuously when he heard how his old friend was employed. "Poor fellow," he said, "what a pity he didn't come up here, and make something out of himself, instead of starving down there on little or nothing," and he mused on how much better his fate had been.

The season ended. After a brief period of rest, the rehearsals for Frye's opera were begun. Silas confessed to himself that he was tired; he had a cough, too, but Mr. Frye was still enthusiastic, and this was to be the great triumph, both for the composer and the tenor.

"Why, I tell you, man," said Frye, "it's going to be the greatest success of the year. I am the only man who has ever put grand-opera effects into comic opera with success. Just listen to the chords of this opening chorus." And so he inspired the singer with some of his own spirit. They went to work with a will. Silas might have been reluctant as he felt the strain upon him grow, but that he had spent all his money, and Frye, as he expressed it, was "putting up for him," until the opening of the season.

Then one day he was taken sick, and although Frye fumed,