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THE VOICE OF THE CITY

Twenty-five years ago the school children used to chant their lessons. The manner of their delivery was a singsong recitative between the utterance of an Episcopal minister and the drone of a tired sawmill. I mean no disrespect. We must have lumber and sawdust.

I remember one beautiful and instructive little lyric that emanated from the physiology class. The most striking line of it was this:

"The shin-bone is the long-est bone in the hu-man bod-y."

What an inestimable boon it would have been if all the corporeal and spiritual facts pertaining to man had thus been tunefully and logically inculcated in our youthful minds! But what we gained in anatomy, music and philosophy was meagre.

The other day I became confused. I needed a ray of light. I turned back to those school days for aid. But in all the nasal harmonies we whined forth from those hard benches I could not recall one that treated of the voice of agglomerated mankind.

In other words, of the composite vocal message of massed humanity.

In other words, of the Voice of a Big City.

Now, the individual voice is not lacking. We can understand the song of the poet, the ripple of the brook, the meaning of the man who wants until next Monday, the inscriptions on the tombs of the Pharaohs, the language of flowers, the "step lively" of the conductor, and the prelude of the milk cans at 4 A. M. Certain large-eared ones even assert that they are wise to the vibrations of the tympanum produced by concussion of the air emanating from Mr. H. James. But who can comprehend the meaning of the voice of the city?

I went out for to see.

First, I asked Aurelia. She wore white Swiss and a hat with flowers on it, and ribbons and ends of things fluttered here and there.

"Tell me," I said, stammeringly, for I have no voice of my own, "what does this big--er--enormous--er--whopping city say? It must have a voice of some kind. Does it ever speak to you? How do you interpret its meaning? It is a tremendous mass, but it must have a key."

"Like a Saratoga trunk?" asked Aurelia.

"All cities," said Aurelia, judicially, "say the same thing. When they get through saying it there is an echo from Philadelphia. So, they are unanimous."

"Here are 4,000,000 people," said I, scholastically, "compressed upon an island, which is mostly lamb surrounded by Wall Street water. The conjunction of so many units into so small a space must result in an identity--or, or rather a homogeneity that finds its oral expression through a common channel. It is, as you might say, a consensus of translation, concentrating in a crystallized, general idea which reveals itself in what may be termed the Voice of the City. Can you tell me what it is?"

Aurelia smiled wonderfully. She sat on the high stoop. A spray of insolent ivy bobbed against her right ear. A ray of impudent moonlight flickered upon her nose. But I was adamant, nickel-plated.

"I must go and find out," I said, "what is the Voice of this City. Other cities have voices. It is an assignment. I must have it. New York," I continued, in a rising tone, "had better not hand me a cigar and say: 'Old man, I can't talk for publication.' No other city acts in that way. Chicago says, unhesitatingly, 'I will;' I Philadelphia says, 'I should;' New Orleans says, 'I used to;' Louisville says, 'Don't care if I do;' St. Louis says, 'Excuse me;' Pittsburg says, 'Smoke up.' Now, New York--"

Aurelia smiled.

"Very well," said I, "I must go elsewhere and find out."

I went into a palace, tile-floored, cherub-ceilinged and square with the cop. I put my foot on the brass rail and said to Billy Magnus, the best bartender in the diocese:

"Billy, you've lived in New York a long time--what kind of a song-and-dance does this old town give you? What I mean is, doesn't the gab of it seem to kind of bunch up and slide over the bar to you in a sort of amalgamated tip that hits off the burg in a kind of an epigram with a dash of bitters and a slice of--"

"Excuse me a minute," said Billy, "somebody's punching the button at the side door."

He went away; came back with an empty tin bucket; again vanished with it full; returned and said to me:

"That was Mame. She rings twice. She likes a glass of beer for supper. Her and the kid. If you ever saw that little skeesicks of mine brace up in his high chair and take his beer and-- But, say, what was yours? I get kind of excited when I hear them two rings--was it the baseball score or gin fizz you asked for?"

"Ginger ale," I answered.

I walked up to Broadway. I saw a cop on the corner. The cops take kids up, women across, and men in. I went up to him.

"If I'm not exceeding the spiel limit," I said, "let me ask you. You see New York during its vocative hours. It is the function of you and your brother cops to preserve the acoustics of the city. There must be a civic voice that is intelligible to you. At night during your lonely rounds you must have heard it. What is the epitome of its turmoil and shouting? What does the city say to you?"

"Friend," said the policeman, spinning his club, "it don't say nothing. I get my orders from the man higher up. Say, I guess you're all right. Stand here for a few minutes and keep an eye open for the roundsman."

The cop melted into the darkness of the side street. In ten minutes he had returned.

"Married last Tuesday," he said, half gruffly. "You know how they are. She comes to that corner at nine every night for a--comes to say 'hello!' I generally manage to be there. Say, what was it you asked me a bit ago--what's doing in the city? Oh, there's a roof-garden or two just opened, twelve blocks up."

I crossed a crow's-foot of street-car tracks, and skirted the edge of an umbrageous park. An artificial Diana, gilded, heroic, poised, wind-ruled, on the tower, shimmered in the clear light of her namesake in the sky. Along came my poet, hurrying, hatted, haired, emitting dactyls, spondees and dactylis. I seized him.

"Do you remember," asked the poet, with a chuckle, "that California girl we met at Stiver's studio last week? Well, I'm on my way to see her. She repeated that poem of mine, 'The Tribute of Spring,' word for word. She's the smartest proposition in this town just at present. Say, how does this confounded tie look? I spoiled four before I got one to set right."

"And the Voice that I asked you about?" I inquired.

"Oh, she doesn't sing," said Cleon. "But you ought to hear her recite my 'Angel of the Inshore Wind.'"

I passed on. I cornered a newsboy and he flashed at me prophetic pink papers that outstripped the news by two revolutions of the clock's longest hand.

"Son," I said, while I pretended to chase coins in my penny pocket, "doesn't it sometimes seem to you as if the city ought to be able to talk? All these ups and downs and funny business and queer things happening every day--what would it say, do you think, if it could speak?"

"Quit yer kiddin'," said the boy. "Wot paper yer want? I got no time to waste. It's Mag's birthday, and I want thirty cents to git her a present."

Here was no interpreter of the city's mouthpiece. I bought a paper, and consigned its undeclared treaties, its premeditated murders and unfought battles to an ash can.

Again I repaired to the park and sat in the moon shade. I thought and thought, and wondered why none could tell me what I asked for.

And then, as swift as light from a fixed star, the answer came to me. I arose and hurried--hurried as so many reasoners must, back around my circle. I knew the answer and I hugged it in my breast as I flew, fearing lest some one would stop me and demand my secret.

Aurelia was still on the stoop. The moon was higher and the ivy shadows were deeper. I sat at her side and we watched a little cloud tilt at the drifting moon and go asunder quite pale and discomfited.

And then, wonder of wonders and delight of delights! our hands somehow touched, and our fingers closed together and did not part.

After half an hour Aurelia said, with that smile of hers:

"Do you know, you haven't spoken a word since you came back!"

"That," said I, nodding wisely, "is the Voice of the City."

THE COMPLETE LIFE OF JOHN HOPKINS

There is a saying that no man has tasted the full flavour of life until he has known poverty, love and war. The justness of this reflection commends it to the lover of condensed philosophy. The three conditions embrace about all there is in life worth knowing. A surface thinker might deem that wealth should be added to the list. Not so. When a poor man finds a long-hidden quarter-dollar that has slipped through a rip into his vest lining, he sounds the pleasure of life with a deeper plummet than any millionaire can hope to cast.

It seems that the wise executive power that rules life has thought best to drill man in these three conditions; and none may escape all three. In rural places the terms do not mean so much. Poverty is less pinching; love is temperate; war shrinks to contests about boundary lines and the neighbors' hens. It is in the cities that our epigram gains in truth and vigor; and it has remained for one John Hopkins to crowd the experience into a rather small space of time.

The Hopkins flat was like a thousand others. There was a rubber plant in one window; a flea-bitten terrier sat in the other, wondering when he was to have his day.

John Hopkins was like a thousand others. He worked at per week in a nine-story, red-brick building at either Insurance, Buckle's Hoisting Engines, Chiropody, Loans, Pulleys, Boas Renovated, Waltz Guaranteed in Five Lessons, or Artificial Limbs. It is not for us to wring Mr. Hopkins's avocation from these outward signs that be.

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