Read Like A Writer

There are two ways to learn how to write fiction: by reading it and by writing it. Yes, you can learn lots about writing stories in workshops, in writing classes and writing groups, at writers' conferences. You can learn technique and process by reading the dozens of books like this one on fiction writing and by reading articles in writers' magazines. But the best teachers of fiction are the great works of fiction themselves. You can learn more about the structure of a short story by reading Anton Chekhov's 'Heartache' than you can in a semester of Creative Writing 101. If you read like a writer, that is, which means you have to read everything twice, at least. When you read a story or novel the first time, just let it happen. Enjoy the journey. When you've finished, you know where the story took you, and now you can go back and reread, and this time notice how the writer reached that destination. Notice the choices he made at each chapter, each sentence, each word. (Every word is a choice.) You see now how the transitions work, how a character gets across a room. All this time you're learning. You loved the central character in the story, and now you can see how the writer presented the character and rendered her worthy of your love and attention. The first reading is creative—you collaborate with the writer in making the story. The second reading is critical.

John Dufresne, from his book, The Lie That Tells A Truth: A Guide to Writing Fiction


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Saturday, March 26, 2016

The Philosophy of Composition. By Edgar Allan Poe

Charles Dickens, in a note now lying before me, alluding to an examination I once made of the mechanism of "Barnaby Rudge," says—"By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done."

I cannot think this the precise mode of procedure on the part of Godwin—and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens' idea—but the author of "Caleb Williams" was too good an artist not to perceive the advantage derivable from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before anything be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention.

There is a radical error, I think, in the usual mode of constructing a story. Either history affords a thesis—or one is suggested by an incident of the day—or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative—designing, generally, to fill in with description, dialogue, or authorial comment, whatever crevices of fact, or action, may, from page to page, render themselves apparent.

I prefer commencing with the consideration of an effect. Keeping originality always in view—for he is false to himself who ventures to dispense with so obvious and so easily attainable a source of interest—I say to myself, in the first place, "Of the innumerable effects, or impressions, of which the heart, the intellect, or (more generally) the soul is susceptible, what one shall I, on the present occasion, select?" Having chosen a novel, first, and secondly a vivid effect, I consider whether it can be best wrought by incident or tone—whether by ordinary incidents and peculiar tone, or the converse, or by peculiarity both of incident and tone—afterward looking about me (or rather within) for such combinations of event, or tone, as shall best aid me in the construction of the effect.

I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the stepladders, and demon-traps—the cock's feathers, the red paint and the black patches, which, in ninety-nine cases out of the hundred, constitute the properties of the literary histrio.

I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell, are pursued and forgotten in a similar manner.

For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions; and, since the interest of an analysis, or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select "The Raven" as most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded, step by step, to its completion with the precision and rigid consequence of a mathematical problem.

Let us dismiss, as irrelevant to the poem, per se, the circumstance—or say the necessity—which, in the first place, gave rise to the intention of composing a poem that should suit at once the popular and the critical taste.

We commence, then, with this intention.

The initial consideration was that of extent. If any literary work is too long to be read at one sitting, we must be content to dispense with the immensely important effect derivable from unity of impression—for, if two sittings be required, the affairs of the world interfere, and everything like totality is at once destroyed. But since, cæteris paribus, no poet can afford to dispense with anything that may advance his design, it but remains to be seen whether there is, in extent, any advantage to counterbalance the loss of unity which attends it. Here I say no, at once. What we term a long poem is, in fact, merely a succession of brief ones—that is to say, of brief poetical effects. It is needless to demonstrate that a poem is such, only inasmuch as it intensely excites, by elevating, the soul; and all intense excitements are, through a psychal necessity, brief. For this reason, at least one half of the "Paradise Lost" is essentially prose—a succession of poetical excitements interspersed, inevitably, with corresponding depressions—the whole being deprived, through the extremeness of its length, of the vastly important artistic element, totality, or unity, of effect.

It appears evident, then, that there is a distinct limit, as regards length, to all works of literary art—the limit of a single sitting—and that, although in certain classes of prose composition, such as "Robinson Crusoe" (demanding no unity), this limit may be advantageously overpassed, it can never properly be overpassed in a poem. Within this limit, the extent of a poem may be made to bear mathematical relation to its merit—in other words, to the excitement or elevation—again, in other words, to the degree of the true poetical effect which it is capable of inducing; for it is clear that the brevity must be in direct ratio of the intensity of the intended effect:—this, with one proviso—that a certain degree of duration is absolutely requisite for the production of any effect at all.

Holding in view these considerations, as well as that degree of excitement which I deemed not above the popular, while not below the critical, taste, I reached at once what I conceived the proper length for my intended poem—a length of about one hundred lines. It is, in fact, a hundred and eight.

My next thought concerned the choice of an impression, or effect, to be conveyed; and here I may as well observe that, throughout the construction I kept steadily in view the design of rendering the work universally appreciable. I should be carried too far out of my immediate topic were I to demonstrate a point upon which I have repeatedly insisted, and which, with the poetical, stands not in the slightest need of demonstration—the point, I mean, that Beauty is the sole legitimate province of the poem. A few words, however, in elucidation of my real meaning, which some of my friends have evinced a disposition to misrepresent. That pleasure which is at once the most intense, the most elevating, and the most pure, is, I believe, found in the contemplation of the beautiful. When, indeed, men speak of Beauty, they mean, precisely, not a quality, as is supposed, but an effect—they refer, in short, just to that intense and pure elevation of soulnot of intellect, or of heart—upon which I have commented, and which is experienced in consequence of contemplating "the beautiful." Now I designate Beauty as the province of the poem, merely because it is an obvious rule of Art that effects should be made to spring from direct causes—that objects should be attained through means best adapted for their attainment—no one as yet having been weak enough to deny that the peculiar elevation alluded to, is most readily attained in the poem. Now the object Truth, or the satisfaction of the intellect, and the object Passion, or the excitement of the heart, are, although attainable, to a certain extent, in poetry, far more readily attainable in prose. Truth, in fact, demands a precision, and Passion a homeliness (the truly passionate will comprehend me) which are absolutely antagonistic to that Beauty which, I maintain, is the excitement, or pleasurable elevation, of the soul. It by no means follows from anything here said, that passion, or even truth, may not be introduced, and even profitably introduced, into a poem—for they may serve in elucidation, or aid the general effect, as do discords in music, by contrast—but the true artist will always contrive, first, to tone them into proper subservience to the predominant aim; and, secondly, to enveil them, as far as possible, in that Beauty which is the atmosphere and the essence of the poem.

Regarding, then, Beauty as my province, my next question referred to the tone of its highest manifestation—and all experience has shown that this tone is one of sadness. Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears. Melancholy is thus the most legitimate of all the poetical tones.

The length, the province, and the tone, being thus determined, I betook myself to ordinary induction, with the view of obtaining some artistic piquancy which might serve me as a key-note in the construction of the poem—some pivot upon which the whole structure might turn. In carefully thinking over all the usual artistic effects—or more properly points, in the theatrical sense—I did not fail to perceive immediately that no one had been so universally employed as that of the refrain. The universality of its employment sufficed to assure me of its intrinsic value, and spared me the necessity of submitting it to analysis. I considered it, however, with regard to its susceptibility of improvement, and soon saw it to be in a primitive condition. As commonly used, the refrain, or burden, not only is limited to lyric verse, but depends for its impression upon the force of monotone—both in sound and thought. The pleasure is deduced solely from the sense of identity—of repetition. I resolved to diversify, and so heighten, the effect, by adhering, in general, to the monotone of sound, while I continually varied that of thought: that is to say, I determined to produce continuously novel effects, by the variation of the application of the refrain—the refrain itself remaining, for the most part, unvaried.

These points being settled, I next bethought me of the nature of my refrain. Since its application was to be repeatedly varied, it was clear that the refrain itself must be brief, for there would have been an insurmountable difficulty in frequent variations of application in any sentence of length. In proportion to the brevity of the sentence, would, of course, be the facility of the variation. This led me at once to a single word as the best refrain.

The question now arose as to the character of the word. Having made up my mind to a refrain, the division of the poem into stanzas was, of course, a corollary: the refrain forming the close to each stanza. That such a close, to have force, must be sonorous and susceptible of protracted emphasis, admitted no doubt: and these considerations inevitably led me to the long o as the most sonorous vowel, in connection with r as the most producible consonant.

The sound of the refrain being thus determined, it became necessary to select a word embodying this sound, and at the same time in the fullest possible keeping with that melancholy which I had pre-determined as the tone of the poem. In such a search it would have been absolutely impossible to overlook the word "Nevermore." In fact, it was the very first which presented itself.

The next desideratum was a pretext for the continuous use of the one word "nevermore." In observing the difficulty which I at once found in inventing a sufficiently plausible reason for its continuous repetition, I did not fail to perceive that this difficulty arose solely from the pre-assumption that the word was to be so continuously or monotonously spoken by a human being—I did not fail to perceive, in short, that the difficulty lay in the reconciliation of this monotony with the exercise of reason on the part of the creature repeating the word. Here, then, immediately arose the idea of a non-reasoning creature capable of speech; and, very naturally, a parrot, in the first instance, suggested itself, but was superseded forthwith by a Raven, as equally capable of speech, and infinitely more in keeping with the intended tone.

I had now gone so far as the conception of a Raven—the bird of ill omen—monotonously repeating the one word, "Nevermore," at the conclusion of each stanza, in a poem of melancholy tone, and in length about one hundred lines. Now, never losing sight of the object supremeness, or perfection, at all points, I asked myself—"Of all melancholy topics, what, according to the universal understanding of mankind, is the most melancholy?" Death—was the obvious reply. "And when," I said, "is this most melancholy of topics most poetical?" From what I have already explained at some length, the answer, here also, is obvious—"When it most closely allies itself to Beauty: the death, then, of a beautiful woman is, unquestionably, the most poetical topic in the world—and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover."

I had now to combine the two ideas, of a lover lamenting his deceased mistress and a Raven continuously repeating the word "Nevermore."—I had to combine these, bearing in mind my design of varying, at every turn, the application of the word repeated; but the only intelligible mode of such combination is that of imagining the Raven employing the word in answer to the queries of the lover. And here it was that I saw at once the opportunity afforded for the effect on which I had been depending—that is to say, the effect of the variation of application. I saw that I could make the first query propounded by the lover—the first query to which the Raven should reply "Nevermore"—that I could make this first query a commonplace one—the second less so—the third still less, and so on—until at length the lover, startled from his original nonchalance by the melancholy character of the word itself—by its frequent repetition—and by a consideration of the ominous reputation of the fowl that uttered it—is at length excited to superstition, and wildly propounds queries of a far different character—queries whose solution he has passionately at heart—propounds them half in superstition and half in that species of despair which delights in self-torture—propounds them not altogether because he believes in the prophetic or demoniac character of the bird (which, reason assures him, is merely repeating a lesson learned by rote), but because he experiences a frenzied pleasure in so modelling his question as to receive from the expected "Nevermore" the most delicious because the most intolerable of sorrow. Perceiving the opportunity thus afforded me—or, more strictly, thus forced upon me in the progress of the construction—I first established in mind the climax, or concluding query—that query to which "Nevermore" should be in the last place an answer—that query in reply to which this word "Nevermore" should involve the utmost conceivable amount of sorrow and despair.

Here then the poem may be said to have its beginning—at the end, where all works of art should begin—for it was here, at this point of my pre-considerations, that I first put pen to paper in the composition of the stanza:

"'Prophet!' said I, 'thing of evil! prophet still, if bird or devil!
By that heaven that bends above us—by that God we both adore,  
Tell this soul with sorrow laden, if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—  
Clasp a rare and radiant maiden whom the angels name Lenore?'  
Quoth the Raven, 'Nevermore.'"
I composed this stanza, at this point, first that, by establishing the climax, I might the better vary and graduate, as regards seriousness and importance, the preceding queries of the lover—and, secondly, that I might definitely settle the rhythm, the metre, and the length and general arrangement of the stanza—as well as graduate the stanzas which were to precede, so that none of them might surpass this in rhythmical effect. Had I been able, in the subsequent composition, to construct more vigorous stanzas, I should, without scruple, have purposely enfeebled them, so as not to interfere with the climacteric effect.

And here I may as well say a few words of the versification. My first object (as usual) was originality. The extent to which this has been neglected, in versification, is one of the most unaccountable things in the world. Admitting that there is little possibility of variety in mere rhythm, it is still clear that the possible varieties of metre and stanza are absolutely infinite—and yet, for centuries, no man, in verse, has ever done, or ever seemed to think of doing, an original thing. The fact is, that originality (unless in minds of very unusual force) is by no means a matter, as some suppose, of impulse or intuition. In general, to be found, it must be elaborately sought, and although a positive merit of the highest class, demands in its attainment less of invention than negation.

Of course, I pretend to no originality in either the rhythm or metre of the "Raven." The former is trochaic—the latter is octameter acatalectic, alternating with heptameter catalectic repeated in the refrain of the fifth verse, and terminating with tetrameter catalectic. Less pedantically—the feet employed throughout (trochees) consist of a long syllable followed by a short: the first line of the stanza consists of eight of these feet—the second of seven and a half (in effect two-thirds)—the third of eight—the fourth of seven and a half—the fifth the same—the sixth three and a half. Now, each of these lines, taken individually, has been employed before, and what originality the "Raven" has, is in their combination into stanza; nothing even remotely approaching this combination has ever been attempted. The effect of this originality of combination is aided by other unusual, and some altogether novel effects, arising from an extension of the application of the principles of rhyme and alliteration.

The next point to be considered was the mode of bringing together the lover and the Raven—and the first branch of this consideration was the locale. For this the most natural suggestion might seem to be a forest, or the fields—but it has always appeared to me that a close circumscription of space is absolutely necessary to the effect of insulated incident:—it has the force of a frame to a picture. It has an indisputable moral power in keeping concentrated the attention, and, of course, must not be confounded with mere unity of place.

I determined, then, to place the lover in his chamber—in a chamber rendered sacred to him by memories of her who had frequented it. The room is represented as richly furnished—this in mere pursuance of the ideas I have already explained on the subject of Beauty, as the sole true poetical thesis.

The locale being thus determined, I had now to introduce the bird—and the thought of introducing him through the window, was inevitable. The idea of making the lover suppose, in the first instance, that the flapping of the wings of the bird against the shutter, is a "tapping" at the door, originated in a wish to increase, by prolonging, the reader's curiosity, and in a desire to admit the incidental effect arising from the lover's throwing open the door, finding all dark, and thence adopting the half-fancy that it was the spirit of his mistress that knocked.

I made the night tempestuous, first, to account for the Raven's seeking admission, and secondly, for the effect of contrast with the (physical) serenity within the chamber.

I made the bird alight on the bust of Pallas, also for the effect of contrast between the marble and the plumage—it being understood that the bust was absolutely suggested by the bird—the bust of Pallas being chosen, first, as most in keeping with the scholarship of the lover, and, secondly, for the sonorousness of the word, Pallas, itself.

About the middle of the poem, also, I have availed myself of the force of contrast, with a view of deepening the ultimate impression. For example, an air of the fantastic—approaching as nearly to the ludicrous as was admissible—is given to the Raven's entrance. He comes in "with many a flirt and flutter."

"Not the least obeisance made he—not a moment stopped or stayed he,  
But, with mien of lord or lady, perched above my chamber door."
In the two stanzas which follow, the design is more obviously carried out:—

"Then this ebony bird beguiling my sad fancy into smiling  
By the grace and stern decorum of the countenance it wore,  
'Though thy crest be shorn and shaven, thou,' I said, 'art sure no craven, 
Ghastly, grim, and ancient Raven wandering from the Nightly shore—  
Tell me what thy lordly name is on the Night's Plutonian shore?'  
Quoth the Raven, 'Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,  
Though its answer little meaning—little relevancy bore;  
For we cannot help agreeing that no living human being  
Ever yet was blessed with seeing bird above his chamber door—  
Bird or beast upon the sculptured bust above his chamber door,  
With such name as 'Nevermore.'"
The effect of the dénouement being thus provided for, I immediately drop the fantastic for a tone of the most profound seriousness:—this tone commencing in the stanza directly following the one last quoted, with the line,

"But the Raven, sitting lonely on that placid bust, spoke only," etc.
From this epoch the lover no longer jests—no longer sees any thing even of the fantastic in the Raven's demeanour. He speaks of him as a "grim, ungainly, ghastly, gaunt, and ominous bird of yore," and feels the "fiery eyes" burning into his "bosom's core." This revolution of thought, or fancy, on the lover's part, is intended to induce a similar one on the part of the reader—to bring the mind into a proper frame for the dénouement—which is now brought about as rapidly and as directly as possible.

With the dénouement proper—with the Raven's reply, "Nevermore," to the lover's final demand if he shall meet his mistress in another world—the poem, in its obvious phase, that of a simple narrative, may be said to have its completion. So far, every thing is within the limits of the accountable—of the real. A raven, having learned by rote the single word "Nevermore," and having escaped from the custody of its owner, is driven at midnight, through the violence of a storm, to seek admission at a window from which a light still gleams—the chamber-window of a student, occupied half in poring over a volume, half in dreaming of a beloved mistress deceased. The casement being thrown open at the fluttering of the bird's wings, the bird itself perches on the most convenient seat out of the immediate reach of the student, who, amused by the incident and the oddity of the visitor's demeanour, demands of it, in jest, and without looking for a reply, its name. The raven addressed, answers with its customary word, "Nevermore"—a word which finds immediate echo in the melancholy heart of the student, who, giving utterance aloud to certain thoughts suggested by the occasion, is again startled by the fowl's repetition of "Nevermore." The student now guesses the state of the case, but is impelled, as I have before explained, by the human thirst for self-torture, and in part by superstition, to propound such queries to the bird as will bring him, the lover, the most of the luxury of sorrow, through the anticipated answer "Nevermore." With the indulgence, to the extreme, of this self-torture, the narration, in what I have termed its first or obvious phase, has a natural termination, and so far there has been no overstepping of the limits of the real.

But in subjects so handled, however skilfully, or with however vivid an array of incident, there is always a certain hardness or nakedness, which repels the artistical eye. Two things are invariably required—first, some amount of complexity, or more properly, adaptation; and, secondly, some amount of suggestiveness—some under-current, however indefinite, of meaning. It is this latter, in especial, which imparts to a work of art so much of that richness (to borrow from colloquy a forcible term) which we are too fond of confounding with the ideal. It is the excess of the suggested meaning—it is the rendering this the upper instead of the under current of the theme—which turns into prose (and that of the very flattest kind) the so-called poetry of the so-called transcendentalists.

Holding these opinions, I added the two concluding stanzas of the poem—their suggestiveness being thus made to pervade all the narrative which has preceded them. The under-current of meaning is rendered first apparent in the lines—

"'Take thy beak from out my heart, and take thy form from off my door!'  
Quoth the Raven, 'Nevermore!'"
It will be observed that the words, "from out my heart," involve the first metaphorical expression in the poem. They, with the answer "Nevermore," dispose the mind to seek a moral in all that has been previously narrated. The reader begins now to regard the Raven as emblematical—but it is not until the very last line of the very last stanza, that the intention of making him emblematical of Mournful and Never-ending Remembrance is permitted distinctly to be seen:—

"And the Raven, never flitting, still is sitting, still is sitting,  
On the pallid bust of Pallas, just above my chamber door; 
And his eyes have all the seeming of a demon's that is dreaming,  
And the lamplight o'er him streaming throws his shadow on the floor; 
And my soul from out that shadow that lies floating on the floor  
Shall be lifted—nevermore!"

Friday, March 25, 2016

The Griffin and the Minor Canon by Frank Stockton

Word Count: 6078

OVER the great door of an old, old church which stood in a quiet town of a faraway land there was carved in stone the figure of a large griffin. The old-time sculptor had done his work with great care, but the image he had made was not a pleasant one to look at. It had a large head, with enormous open mouth and savage teeth; from its back arose great wings, armed with sharp hooks and prongs; it had stout legs in front, with projecting claws, but there were no legs behind--the body running out into a long and powerful tail, finished off at the end with a barbed point. This tail was coiled up under him, the end sticking up just back of his wings.

The sculptor, or the people who had ordered this stone figure, had evidently been very much pleased with it, for little copies of it, also of stone, had been placed here and there along the sides of the church, not very far from the ground so that people could easily look at them, and ponder on their curious forms. There were a great many other sculptures on the outside of this church--saints, martyrs, grotesque heads of men, beasts, and birds, as well as those of other creatures which cannot be named, because nobody knows exactly what they were; but none were so curious and interesting as the great griffin over the door, and the little griffins on the sides of the church.

A long, long distance from the town, in the midst of dreadful wilds scarcely known to man, there dwelt the Griffin whose image had been put up over the church door. In some way or other, the old-time sculptor had seen him and afterward, to the best of his memory, had copied his figure in stone.

The Griffin had never known this, until, hundreds of years afterward, he heard from a bird, from a wild animal, or in some manner which it is not now easy to find out, that there was a likeness of him on the old church in the distant town.

Now, this Griffin had no idea how he looked. He had never seen a mirror, and the streams where he lived were so turbulent and violent that a quiet piece of water, which would reflect the image of anything looking into it, could not be found. Being, as far as could be ascertained, the very last of his race, he had never seen another griffin. Therefore it was that, when he heard of this stone image of himself, he became very anxious to know what he looked like, and at last he determined to go to the old church, and see for himself what manner of being he was.

So he started off from the dreadful wilds, and flew on and on until he came to the countries inhabited by men, where his appearance in the air created great consternation; but he alighted nowhere, keeping up a steady flight until he reached the suburbs of the town which had his image on its church. Here, late in the afternoon, he lighted in a green meadow by the side of a brook, and stretched himself on the grass to rest. His great wings were tired, for he had not made such a long flight in a century, or more.

The news of his coming spread quickly over the town, and the people, frightened nearly out of their wits by the arrival of so strange a visitor, fled into their houses, and shut themselves up. The Griffin called loudly for someone to come to him but the more he called, the more afraid the people were to show themselves. At length he saw two laborers hurrying to their homes through the fields, and in a terrible voice he commanded them to stop. Not daring to disobey, the men stood, trembling.

"What is the matter with you all?" cried the Griffin. "Is there not a man in your town who is brave enough to speak to me?"

"I think," said one of the laborers, his voice shaking so that his words could hardly be understood, "that-perhaps--the Minor Canon--would come."

"Go, call him, then" said the Griffin; "I want to see him."

The Minor Canon, who was an assistant in the old church, had just finished the afternoon services, and was coming out of a side door, with three aged women who had formed the weekday congregation. He was a young man of a kind disposition, and very anxious to do good to the people of the town. Apart from his duties in the church, where he conducted services every weekday, he visited the sick and the poor, counseled and assisted persons who were in trouble, and taught a school composed entirely of the bad children in the town with whom nobody else would have anything to do. Whenever the people wanted something difficult done for them, they always went to the Minor Canon. Thus it was that the laborer thought of the young priest when he found that someone must come and speak to the Griffin.

The Minor Canon had not heard of the strange event, which was known to the whole town except himself and the three old women and when he was informed of it, and was told that the Griffin had asked to see him, he was greatly amazed and frightened.

"Me!" he exclaimed. "He has never heard of me! What should he want with me?"

"Oh! you must go instantly!" cried the two men. "He is very angry now because he has been kept waiting so long; and nobody knows what may happen if you don't hurry to him."

The poor Minor Canon would rather have had his hand cut off than go out to meet an angry Griffin but he felt that it was his duty to go for it would be a woeful thing if injury should come to the people of the town because he was not brave enough to obey the summons of the Griffin. So, pale and frightened, he started off.

'Well," said the Griffin, as soon as the young man came near, "I am glad to see that there is someone who has the courage to come to me."

The Minor Canon did not feel very brave, but he bowed his head.

'Is this the town," said the Griffin, "where there is a church with a likeness of myself over one of the doors?"

The Minor Canon looked at the frightful creature before him and saw that it was, without doubt, exactly like the stone image on the church. "Yes," he said, "you are right."

"Well, then," said the Griffin, "will you take me to it? I wish very much to see it."

The Minor Canon instantly thought that if the Griffin entered the town without the people's knowing what he came for, some of them would probably be frightened to death, and so he sought to gain time to prepare their minds.

'It is growing dark, now," he said, very much afraid, as he spoke, that his words might enrage the Griffin, "and objects on the front of the church cannot be seen clearly. It will be better to wait until morning, if you wish to get a good view of the stone image of yourself."

"That will suit me very well," said the Griffin. "I see you are a man of good sense. I am tired, and I will take a nap here on this soft grass, while I cool my tail in the little stream that runs near me. The end of my tail gets red-hot when I am angry or excited, and it is quite warm now. So you may go; but be sure and come early tomorrow morning, and show me the way to the church."

The Minor Canon was glad enough to take his leave, and hurried into the town. In front of the church he found a great many people assembled to hear his report of his interview with the Griffin. When they found that he had not come to spread rum, but simply to see his stony likeness on the church, they showed neither relief nor gratification, but began to upbraid the Minor Canon for consenting to conduct the creature into the town.

'What could I do?" cried the young man. "If I should not bring him he would come himself, and, perhaps, end by setting fire to the town with his red-hot tail."

Still the people were not satisfied, and a great many plans were proposed to prevent the Griffin from coming into the town. Some elderly persons urged that the young men should go out and kill him; but the young men scoffed at such a ridiculous idea.

Then someone said that it would be a good thing to destroy the stone image, so that the Griffin would have no excuse for entering the town; and this plan was received with such favor that many of the people ran for hammers, chisels, and crowbars, with which to tear down and break up the stone griffin. But the Minor Canon resisted this plan with all the strength of his mind and body. He assured the people that this action would enrage the Griffin beyond measure, for it would be impossible to conceal from him that his image had been destroyed during the night. But the people were so determined to break up the stone griffin that the Minor Canon saw that there was nothing for him to do but to stay there and protect it. All night he walked up and down in front of the church door, keeping away the men who brought ladders, by which they might mount to the great stone griffin, and knock it to pieces with their hammers and crowbars. After many hours the people were obliged to give up their attempts, and went home to sleep; but the Minor Canon remained at his post till early morning, and then he hurried away to the field where he had left the Griffin.

The monster had just awakened, and rising to his forelegs and shaking himself he said that he was ready to go into the town. The Minor Canon, therefore, walked back, the Griffin flying slowly through the air, at a short distance above the head of his guide. Not a person was to be seen in the streets, and they went directly to the front of the church, where the Minor Canon pointed out the stone griffin.

The real Griffin settled down in the little square before the church and gazed earnestly at his sculptured likeness. For a long time he looked at it. First he put his head on one side, and then he put it on the other; then he shut his right eye and gazed with his left, after which he shut his left eye and gazed with his right. Then he moved a little to one side and looked at the image, then he moved the other way. After a while he said to the Minor Canon, who had been standing by all this time:

"It is, it must be, an excellent likeness! That breadth between the eyes, that expansive forehead, those massive jaws! I feel that it must resemble me. If there is any fault to find with it, it is that the neck seems a little stiff. But that is nothing. It is an admirable likeness--admirable!"

The Griffin sat looking at his image all the morning and all the afternoon. The Minor Canon had been afraid to go away and leave him, and had hoped all through the day that he would soon be satisfied with his inspection and fly away home. But by evening the poor young man was very tired, and felt that he must eat and sleep. He frankly said this to the Griffin, and asked him if he would not like something to eat. He said this because he felt obliged in politeness to do so, but as soon as he had spoken the words, he was seized with dread lest the monster should demand half a dozen babies, or some tempting repast of that kind.

"Oh, no," said the Griffin; 'I never eat between the equinoxes. At the vernal and at the autumnal equinox I take a good meal, and that lasts me for half a year. I am extremely regular in my habits, and do not think it healthful to eat at odd times. But if you need food, go and get it, and I will return to the soft grass where I slept last night and take another nap."

The next day the Griffin came again to the little square before the church, and remained there until evening, steadfastly regarding the stone griffin over the door. The Minor Canon came out once or twice to look at him, and the Griffin seemed very glad to see him; but the young clergyman could not stay as he had done before, for he had many duties to perform. Nobody went to the church, but the people came to the Minor Canon's house, and anxiously asked him how long the Griffin was going to stay.

"I do not know," he answered, "but I think he will soon be satisfied with regarding his stone likeness, and then he will go away."

But the Griffin did not go away. Morning after morning he came to the church; but after a time he did not stay there all day. He seemed to have taken a great fancy to the Minor Canon, and followed him about as he worked. He would wait for him at the side door of the church, for the Minor Canon held services every day, morning and evening, though nobody came now. "If anyone should come," he said to himself, "I must be found at my post." When the young man came out, the Griffin would accompany him in his visits to the sick and the poor, and would often look into the windows of the schoolhouse where the Minor Canon was teaching his unruly scholars. All the other schools were closed, but the parents of the Minor Canon's scholars forced them to go to school, because they were so bad they could not endure them all day at home--Griffin or no Griffin. But it must be said they generally behaved very well when that great monster sat up on his tail and looked in at the schoolroom window.

When it was found that the Griffin showed no sign of going away, all the people who were able to do so left the town. The canons and the higher officers of the church had fled away during the first day of the Griffin's visit, leaving behind only the Minor Canon and some of the men who opened the doors and swept the church. All the citizens who could afford it shut up their houses and traveled to distant parts, and only the working people and the poor were left behind. After some days these ventured to go about and attend to their business, for if they did not work they would starve. They were getting a little used to seeing the Griffin; and having been told that he did not eat between equinoxes, they did not feel so much afraid of him as before.

Day by day the Griffin became more and more attached to the Minor Canon. He kept near him a great part of the time, and often spent the night in front of the little house where the young clergyman lived alone. This strange companionship was often burdensome to the Minor Canon, but, on the other hand, he could not deny that he derived a great deal of benefit and instruction from it. The Griffin had lived for hundreds of years, and had seen much, and he told the Minor Canon many wonderful things.

"It is like reading an old book," said the young clergyman to himself; "but how many books I would have had to read before I would have found out what the Griffin has told me about the earth, the air, the water, about minerals, and metals, and growing things, and all the wonders of the world!"

Thus the summer went on, and drew toward its close. And now the people of the town began to be very much troubled again.

"It will not be long," they said, "before the autumnal equinox is here, and then that monster will want to eat. He will be dreadfully hungry, for he has taken so much exercise since his last meal. He will devour our children. Without doubt, he will eat them all. What is to be done?"

To this question no one could give an answer, but all agreed that the Griffin must not be allowed to remain until the approaching equinox. After talking over the matter a great deal, a crowd of the people went to the Minor Canon at a time when the Griffin was not with him.

'It is all your fault," they said, "that that monster is among us. You brought him here, and you ought to see that he goes away. It is only on your account that he stays here at all; for, although he visits his image every day, he is with you the greater part of the time. If you were not here, he would not stay. It is your duty to go away, and then he will follow you, and we shall be free from the dreadful danger which hangs over us."

"Go away!" cried the Minor Canon, greatly grieved at being spoken to in such a way. "Where shall I go? If I go to some other town, shall I not take this trouble there? Have I a right to do that?"

"No," said the people, "you must not go to any other town. There is no town far enough away. You must go to the dreadful wilds where the Griffin lives, and then he will follow you and stay there."

They did not say whether or not they expected the Minor Canon to stay there also, and he did not ask them anything about it. He bowed his head, and went into his house to think. The more he thought, the more clear it became to his mind that it was his duty to go away, and thus free the town from the presence of the Griffin.

That evening he packed a leathern bag full of bread and meat, and early the next morning he set out or his journey to the dreadful wilds. It was a long, weary, and doleful journey, especially after he had gone beyond the habitations of men; but the Minor Canon kept on bravely, and never faltered.

The way was longer than he had expected, and his provisions soon grew so scanty that he was obliged to eat but a little every day; but he kept up his courage, and pressed on, and, after many days of toilsome travel, he reached the dreadful wilds.

When the Griffin found that the Minor Canon had left the town he seemed sorry, but showed no desire to go and look for him. After a few days had passed he became much annoyed, and asked some of the people where the Minor Canon had gone. But, although the citizens had been so anxious that the young clergyman should go to the dreadful wilds, thinking that the Griffin would immediately follow him, they were now afraid to mention the Minor Canon's destination, for the monster seemed angry already, and if he should suspect their trick he would, doubtless, become very much enraged. So everyone said he did not know, and the Griffin wandered about disconsolate. One morning he looked into the Minor Canon's schoolhouse, which was always empty now, and thought that it was a shame that everything should suffer on account of the young man's absence.

"It does not matter so much about the church," he said, "for nobody went there; but it is a pity about the school. I think I will teach it myself until he returns."

It was the hour for opening the school, and the Griffin went inside and pulled the rope which rang the school bell. Some of the children who heard the bell ran in to see what was the matter, supposing it to be a joke of one of their companions; but when they saw the Griffin they stood astonished and scared.

"Go tell the other scholars," said the monster, "that school is about to open, and that if they are not all here in ten minutes I shall come after them."

In seven minutes every scholar was in place.

Never was seen such an orderly school. Not a boy or girl moved or uttered a whisper. The Griffin climbed into the master's seat, his wide wings spread on each side of him, because he could not lean back in his chair while they stuck out behind, and his great tail coiled around, in front of the desk, the barbed end sticking up, ready to tap any boy or girl who might misbehave.

The Griffin now addressed the scholars, telling them that he intended to teach them while their master was away. In speaking he tried to imitate, as far as possible, the mild and gentle tones of the Minor Canon; but it must be admitted that in this he was not very successful. He had paid a good deal of attention to the studies of the school, and he determined not to try to teach them anything new, but to review them in what they had been studying; so he called up the various classes, and questioned them upon their previous lessons. The children racked their brains to remember what they had learned. They were so afraid of the Griffin's displeasure that they recited as they had never recited before. One of the boys, far down in his class, answered so well that the Griffin was astonished.

'I should think you would be at the head," said he. "I am sure you have never been in the habit of reciting so well. Why is this?"

"Because I did not choose to take the trouble," said the boy, trembling in his boots. He felt obliged to speak the truth, for all the children thought that the great eyes of the Griffin could see right through them, and that he would know when they told a falsehood.

"You ought to be ashamed of yourself," said the Griffin. "Go down to the very tail of the class; and if you are not at the head in two days, I shall know the reason why."

The next afternoon this boy was Number One.

It was astonishing how much these children now learned of what they had been studying. It was as if they had been educated over again. The Griffin used no severity toward them, but there was a look about him which made them unwilling to go to bed until they were sure they knew their lessons for the next day.

The Griffin now thought that he ought to visit the sick and the poor; and he began to go about the town for this purpose. The effect upon the sick was miraculous. All, except those who were very ill indeed, jumped from their beds when they heard he was coming, and declared themselves quite well. To those who could not get up he gave herbs and roots, which none of them had ever before thought of as medicines, but which the Griffin had seen used in various parts of the world; and most of them recovered. But, for all that, they afterward said that, no matter what happened to them, they hoped that they should never again have such a doctor coming to their bedsides, feeling their pulses and looking at their tongues.

As for the poor, they seemed to have utterly disappeared. All those who had depended upon charity for their daily bread were now at work in some way or other; many of them offering to do odd jobs for their neighbors just for the sake of their meals--a thing which before had been seldom heard of in the town. The Griffin could find no one who needed his assistance.

The summer had now passed, and the autumnal equinox was rapidly approaching. The citizens were in a state of great alarm and anxiety. The Griffin showed no signs of going away, but seemed to have settled himself permanently among them. In a short time the day for his semiannual meal would arrive, and then what would happen? The monster would certainly be very hungry, and would devour all their children.

Now they greatly regretted and lamented that they had sent away the Minor Canon; he was the only one on whom they could have depended in this trouble, for he could talk freely with the Griffin, and so find out what could be done. But it would not do to be inactive. Some step must be taken immediately. A meeting of the citizens was called, and two old men were appointed to go and talk to the Griffin. They were instructed to offer to prepare a splendid dinner for him on equinox day-one which would entirely satisfy his hunger. They would offer him the fattest mutton, the most tender beef fish, and game of various sorts, and anything of the kind that he might fancy. If none of these suited, they were to mention that there was an orphan asylum in the next town.

"Anything would be better," said the citizens, "than to have our dear children devoured."

The old men went to the Griffin; but their propositions were not received with favor.

"From what I have seen of the people of this town," said the monster, "I do not think I could relish anything which was prepared by them. They appear to be all cowards and, therefore, mean and selfish. As for eating one of them, old or young, I could not think of it for a moment. In fact, there was only one creature in the whole place for whom I could have had any appetite, and that is the Minor Canon, who has gone away. He was brave, and good, and honest, and I think I should have relished him."

"Ah!" said one of the old men very politely, "in that case I wish we had not sent him to the dreadful wilds!"

"What!" cried the Griffin. "What do you mean? Explain instantly what you are talking about!"

The old man, terribly frightened at what he had said, was obliged to tell how the Minor Canon had been sent away by the people, in the hope that the Griffin might be induced to follow him.

When the monster heard this he became furiously angry. He dashed away from the old men, and, spreading his wings, flew backward and forward over the town. He was so much excited that his tail became red-hot, and glowed like a meteor against the evening sky. When at last he settled down in the little field where he usually rested, and thrust his tail into the brook, the steam arose like a cloud, and the water of the stream ran hot through the town. The citizens were greatly frightened, and bitterly blamed the old man for telling about the Minor Canon.

"It is plain," they said, "that the Griffin intended at last to go and look for him, and we should have been saved. Now who can tell what misery you have brought upon us."

The Griffin did not remain long in the little field. As soon as his tail was cool he flew to the town hall and rang the bell. The citizens knew that they were expected to come there; and although they were afraid to go, they were still more afraid to stay away; and they crowded into the hall. The Griffin was on the platform at one end, flapping his wings and walking up and down, and the end of his tail was still so warm that it slightly scorched the boards as he dragged it after him.

When everybody who was able to come was there, the Griffin stood still and addressed the meeting.

'I have had a very low opinion of you," he said, "ever since I discovered what cowards you are, but I had no idea that you were so ungrateful, selfish, and cruel as I now find you to be. Here was your Minor Canon, who labored day and night for your good, and thought of nothing else but how he might benefit you and make you happy; and as soon as you imagine yourselves threatened with a danger--for well I know you are dreadfully afraid of me--you send him off, caring not whether he returns or perishes, hoping thereby to save yourselves. Now, I had conceived a great liking for that young man, and had intended, in a day or two, to go and look him up. But I have changed my mind about him. I shall go and find him, but I shall send him back here to live among you, and I intend that he shall enjoy the reward of his labor and his sacrifices.

"Go, some of you, to the officers of the church, who so cowardly ran away when I first came here, and tell them never to return to this town under penalty of death. And if, when your Minor Canon comes back to you, you do not bow yourselves before him, put him in the highest place among you, and serve and honor him all his life, beware of my terrible vengeance! There were only two good things in this town: the Minor Canon and the stone image of myself over your church door. One of these you have sent away, and the other I shall carry away myself."

With these words he dismissed the meeting, and it was time, for the end of his tail had become so hot that there was danger of it setting fire to the building.

The next morning the Griffin came to the church, and tearing the stone image of himself from its fastenings over the great door he grasped it with his powerful forelegs and flew up into the air. Then, after hovering over the town for a moment, he gave his tail an angry shake and took up his flight to the dreadful wilds. When he reached this desolate region, he set the stone griffin upon a ledge of a rock which rose in front of the dismal cave he called his home. There the image occupied a position somewhat similar to that it had had over the church door; and the Griffin, panting with the exertion of carrying such an enormous load to so great a distance, lay down upon the ground and regarded it with much satisfaction. When he felt somewhat rested he went to look for the Minor Canon. He found the young man, weak and half starved, lying under the shadow of a rock. After picking him up and carrying him to his cave, the Griffin flew away to a distant marsh, where he procured some roots and herbs which he well knew were strengthening and beneficial to man, though he had never tasted them himself. After eating these the Minor Canon was greatly revived, and sat up and listened while the Griffin told him what had happened in the town.

"Do you know," said the monster, when he had finished, "that I have had, and still have, a great liking for you?"

"I am very glad to hear it," said the Minor Canon, with his usual politeness.

"I am not at all sure that you would be," said the Griffin, "if you thoroughly understood the state of the case; but we will not consider that now. If some things were different, other things would be otherwise. I have been so enraged by discovering the manner in which you have been treated that I have determined that you shall at last enjoy the rewards and honors to which you are entitled. Lie down and have a good sleep, and then I will take you back to the town."

As he heard these words, a look of trouble came over the young man's face.

"You need not give yourself any anxiety," said the Griffin, "about my return to the town. I shall not remain there. Now that I have that admirable likeness of myself in front of my cave, where I can sit at my leisure, and gaze upon its noble features and magnificent proportions, I have no wish to see that abode of cowardly and selfish people."

The Minor Canon, relieved from his fears, lay back, and dropped into a doze; and when he was sound asleep the Griffin took him up, and carried him back to the town. He arrived just before daybreak, and putting the young man gently on the grass in the little field where he himself used to rest, the monster, without having been seen by any of the people, flew back to his home.

When the Minor Canon made his appearance in the morning among the citizens, the enthusiasm and cordiality with which he was received were truly wonderful. He was taken to a house which had been occupied by one of the banished high officers of the place, and everyone was anxious to do all that could be done for his health and comfort. The people crowded into the church when he held services, so that the three old women who used to be his weekday congregation could not get to the best seats, which they had always been in the habit of taking; and the parents of the bad children determined to reform them at home, in order that he might be spared the trouble of keeping up his former school. The Minor Canon was appointed to the highest office of the old church, and before he died, he became a bishop.

During the first years after his return from the dreadful wilds, the people of the town looked up to him as a man to whom they were bound to do honor and reverence; but they often, also, looked up to the sky to see if there were any signs of the Griffin coming back. However, in the course of time, they learned to honor and reverence their former Minor Canon without the fear of being punished if they did not do so.

But they need never have been afraid of the Griffin. The autumnal equinox day came round, and the monster ate nothing. If he could not have the Minor Canon, he did not care for anything. So, lying down, with his eyes fixed upon the great stone griffin, he gradually declined, and died. It was a good thing for some of the people of the town that they did not know this.

If you should ever visit the old town, you would still see the little griffins on the sides of the church; but the great stone griffin that was over the door is gone.

The Lady, or the Tiger? by Frank Stockton

Word Count: 2747

IN THE very olden time, there lived a semi-barbaric king, whose ideas, though somewhat polished and sharpened by the progressiveness of distant Latin neighbors, were still large, florid, and untrammelled, as became the half of him which was barbaric. He was a man of exuberant fancy, and, withal, of an authority so irresistible that, at his will, he turned his varied fancies into facts. He was greatly given to self-communing; and, when he and himself agreed upon any thing, the thing was done. When every member of his domestic and political systems moved smoothly in its appointed course, his nature was bland and genial; but whenever there was a little hitch, and some of his orbs got out of their orbits, he was blander and more genial still, for nothing pleased him so much as to make the crooked straight, and crush down uneven places.

Among the borrowed notions by which his barbarism had become semified was that of the public arena, in which, by exhibitions of manly and beastly valor, the minds of his subjects were refined and cultured.

But even here the exuberant and barbaric fancy asserted itself. The arena of the king was built, not to give the people an opportunity of hearing the rhapsodies of dying gladiators, nor to enable them to view the inevitable conclusion of a conflict between religious opinions and hungry jaws, but for purposes far better adapted to widen and develop the mental energies of the people. This vast amphitheatre, with its encircling galleries, its mysterious vaults, and its unseen passages, was an agent of poetic justice, in which crime was punished. Or virtue rewarded, by the decrees of an impartial and incorruptible chance.

When a subject was accused of a crime of sufficient importance to interest the king, public notice was given that on an appointed day the fate of the accused person would be decided in the king's arena,--a structure which well deserved its name; for, although its form and plan were borrowed--from afar, its purpose emanated solely from the brain of this man, who, every barleycorn a king, knew no tradition to which he owed more allegiance than pleased his fancy, and who ingrafted on every adopted form of human thought and action the rich growth of his barbaric idealism.

When all the people had assembled in the galleries, and the king, surrounded by his court, sat high up on his throne of royal state on one side of the arena, he gave a signal, a door beneath him opened, and the accused subject stepped out into the amphitheatre. Directly opposite him, on the other side of the enclosed space, were two doors, exactly alike and side by side. It was the duty and the privilege of the person on trial, to walk directly to these doors and open one of them. He could open either door he pleased: he was subject to no guidance or influence but that of the aforementioned impartial and incorruptible chance. If he opened the one, there came out of it a hungry tiger, the fiercest and most cruel that could be procured, which immediately sprang upon him, and tore him to pieces, as a punishment for his guilt. The moment that the case of the criminal was thus decided, doleful iron bells were clanged, great wails went up from the hired mourners posted on the outer rim of the arena, and the vast audience, with bowed heads and downcast hearts, wended slowly their homeward way, mourning greatly that one so young and fair, or so old and respected, should have merited so dire a fate.

But, if the accused person opened the other door, there came forth from it a lady, the most suitable to his years and station that his majesty could select among his fair subjects; and to this lady he was immediately married, as a reward of his innocence. It mattered not that he might already possess a wife and family, or that his affections might be engaged upon an object of his own selection: the king allowed no such subordinate arrangements to interfere with his great scheme of retribution and reward. The exercises, as in the other instance, took place immediately, and in the arena. Another door opened beneath the king, and a priest, followed by a band of choristers' and dancing maidens blowing joyous airs on golden horns and treading an measure, advanced to where the pair stood side by side; and the wedding was promptly and cheerily solemnized. Then the gay brass bells rang forth their merry peals, the people shouted glad hurrahs, and the innocent man, preceded by children strewing flowers on his path, led his bride to his home.

This was the king's semi-barbaric method of administering justice. Its perfect fairness is obvious. The criminal could not know out of which door would come the lady: he opened either he pleased, without having the slightest idea whether, in the next instant, he was to be devoured or married. On some occasions the tiger came out of one door, and on some out of the other. The decisions of this tribunal were not only fair, they were positively determinate: the accused person was instantly punished if he found himself guilty; and, if innocent, he was rewarded on the spot, whether he liked it or not. There was no escape from the judgments of the king's arena.

The institution was a very popular one. When the people gathered together on one of the great trial days, they never knew whether they were to witness a bloody slaughter or a hilarious wedding. This element of uncertainty lent an interest to the occasion which it could not otherwise have attained. Thus, the masses were entertained and pleased, and the thinking part of the community could bring no charge of unfairness against this plan; for did not the accused person have the whole matter in his own hands?

This semi-barbaric king had a daughter as blooming as his most florid fancies, and with a soul as fervent and imperious as his own. As is usual in such cases, she was the apple of his eye, and was loved by him above all humanity. Among his courtier was a young man of that fineness of blood and lowness of station common to the conventional heroes of romance who love royal maidens. This royal maiden was well satisfied with her lover, for he was handsome and brave to a degree unsurpassed in all this kingdom; and she loved him with an ardor that had enough of barbarism in it to make it exceedingly warm and strong. This love affair moved on happily for many months, until one day the king happened to discover its existence. He did not hesitate nor waver in regard to his duty in the premises. The youth was immediately cast into prison, and a day was appointed for his trial in the king's arena. This, of course, was an especially important occasion; and his majesty, as well as all the people, was greatly interested in the workings and development of this trial.

Never before had such a case occurred; never before had a subject dared to love the daughter of a king. In after-years such things became commonplace enough; but then they were, in no slight degree, novel and startling.

The tiger-cages of the kingdom were searched for the most savage and relentless beasts, from which the fiercest monster might be selected for the arena; and the ranks of maiden youth and beauty throughout the land were carefully surveyed by competent judges, in order that the young man might have a fitting bride in case fate did not determine for him a different destiny. Of course, everybody knew that the deed with which the accused was charged had been done. He had loved the princess, and neither he, she, nor any one else thought of denying the fact; but the king would not think of allowing any fact of this kind to interfere with the workings of the tribunal, in which he took such great delight and satisfaction. No matter how the affair turned out, the youth would be disposed of; and the king would take an aesthetic pleasure in watching the course of events, which would determine whether or not the young man had done wrong in allowing himself to love the princess.

The appointed day arrived. From far and near the people gathered, and thronged the great galleries of the arena; and crowds, unable to gain admittance, massed themselves against its outside walls. The king and his court were in their places, opposite the twin doors,--those fateful portals, so terrible in their similarity.

All was ready. The signal was given. A door beneath the royal party opened, and the lover of the princess walked into the arena. Tall, beautiful, fair, his appearance was greeted with a low hum of admiration and anxiety. Half the audience had not known so grand a youth had lived among them. No wonder the princess loved him! What a terrible thing for him to be there!

As the youth advanced into the arena, he turned, as the custom was, to bow to the king: but he did not think at all of that royal personage; his eyes were fixed upon the princess, who sat to the right of her father. Had it not been for the moiety of barbarism in her nature, it is probable that lady would not have been there; but her intense and fervid soul would not allow her to be absent on an occasion in which she was so terribly interested. From the moment that the decree had gone forth, that her lover should decide his fate in the king's arena, she had thought of nothing, night or day, but this great event and the various subjects connected with it. Possessed of more power, influence, and force of character than any one who had ever before been interested in such a case, she had done what no other person had done,--she had possessed herself of the secret of the doors. She knew in which of the two rooms, that lay behind those doors, stood the cage of the tiger, with its open front, and in which waited the lady. Through these thick doors, heavily curtained with skins on the inside, it was impossible that any noise or suggestion should come from within to the person who should approach to raise the latch of one of them; but gold, and the power of a woman's will, had brought the secret to the princess.

And not only did she know in which room stood the lady ready to emerge, all blushing and radiant, should her door be opened, but she knew who the lady was. It was one of the fairest and loveliest of the damsels of the court who had been selected as the reward of the accused youth, should he be proved innocent of the crime of aspiring to one so far above him; and the princess hated her. Often had she seen, or imagined that she had seen, this fair creature throwing glances of admiration upon the person of her lover, and sometimes she thought these glances were perceived and even returned. Now and then she had seen them talking together; it was but for a moment or two, but much can be said in a brief space; it may have been on most unimportant topics, but how could she know that? The girl was lovely, but she had dared to raise her eyes to the loved one of the princess; and, with all the intensity of the savage blood transmitted to her through long lines of wholly barbaric ancestors, she hated the woman who blushed and trembled behind that silent door.

When her lover turned and looked at her, and his eye met hers as she sat there paler and whiter than any one in the vast ocean of anxious faces about her, he saw, by that power of quick perception which is given to those whose souls are one, that she knew behind which door crouched the tiger, and behind which stood the lady. He had expected her to know it. He understood her nature, and his soul was assured that she would never rest until she had made plain to herself this thing, hidden to all other lookers-on, even to the king. The only hope for the youth in which there was any element of certainty was based upon the success of the princess in discovering this mystery; and the moment he looked upon her, he saw she had succeeded, as in his soul he knew she would succeed.

Then it was that his quick and anxious glance asked the question: "Which?" It was as plain to her as if he shouted it from where he stood. There was not an instant to be lost. The question was asked in a Rash; it must be answered in another.

Her right arm lay on the cushioned parapet before her. She raised her hand, and made a slight, quick movement toward the right. No one but her lover saw her. Every eye but his was fixed on the man in the arena.

He turned, and, with a firm and rapid step he walked across the empty space. Every heart stopped beating, every breath was held, every eye was fixed immovably upon that man. Without the slightest hesitation, he went to the door on the right, and opened it.

Now, the point of the story is this: Did the tiger come out of that door, or did the lady?

The more we reflect upon this question, the harder it is to answer. It involves a study of the human heart which leads us through devious mazes of passion, out of which it is difficult to find our way. Think of it, fair reader, not as if the decision of the question depended upon yourself, but upon that hot-blooded, semi-barbaric princess, her soul at a white heat beneath the combined fires of despair and jealousy. She had lost him, but who should have him?

How often, in her waking hours and in her dreams, had she started in wild horror, and covered her face with her hands, as she thought of her lover opening the door on the other side of which waited the cruel fangs of the tiger!

But how much oftener had she seen him at the other door! How in her grievous reveries had she gnashed her teeth, and torn her hair, when she saw his start of rapturous delight as he opened the door of the lady! How her soul had burned in agony when she had seen him rush to meet that woman, with her flushing cheek and sparkling eye of triumph; when she had seen him lead her forth, his whole frame kindled with the joy of recovered life; when she had heard the glad shouts from the multitude, and the wild ringing of the happy bells; when she had seen the priest, with his joyous followers, advance to the couple, and make them man and wife before her very eyes; and when she had seen them walk away together upon their path of flowers, followed by the tremendous shouts of the hilarious multitude, in which her one despairing shriek was lost and drowned!

Would it not be better for him to die at once, and go to wait for her in the blessed regions of semi-barbaric futurity?

And yet, that awful tiger, those shrieks, that blood!

Her decision had been indicated in an instant, but it had been made after days and nights of anguished deliberation. She had known she would be asked, she had decided what she would answer, and, without the slightest hesitation, she had moved her hand to the right.

The question of her decision is one not to be lightly considered, and it is not for me to presume to set myself up as the one person able to answer it. And so I leave it with all of you: Which came out of the opened door,--the lady, or the tiger?

Split Cherry Tree by Jesse Stuart

Word Count: 5547

I don't mind staying after school," I says to Professor Herbert, "but I'd rather you'd whip me with a switch and let me go home early. Pa will whip me anyway for getting home two hours late."

"You are too big to whip," says Professor Herbert, "and I have to punish you for climbing up in that cherry tree. You boys knew better than that! The other five boys have paid their dollar each. You have been the only one who has not helped pay for the tree. Can't you borrow a dollar?"

"I can't," I says. "I'll have to take the punishment. I wish it would be quicker punishment. I wouldn't mind."

Professor Herbert stood and looked at me. He was a big man. He wore a grey suit of clothes. The suit matched his grey hair.

"You don't know my father," I says to Professor Herbert. "He might be called a little old-fashioned. He makes us mind him until we're twenty-one years old. He believes: 'If you spare the rod you spoil the child.' I'll never be able to make him understand about the cherry tree. I'm the first of my people to go to high school."

"You must take the punishment," says Professor Herbert. "You must stay two hours after school today and two hours after school tomorrow. I am allowing you twenty-five cents an hour. That is good money for a high-school student. You can sweep the schoolhouse floor, wash the blackboards, and clean windows. I'll pay the dollar for you."

I couldn't ask Professor Herbert to loan me a dolIar. He never offered to loan it to me. I had to stay and help the janitor and work out my fine at a quarter an hour.

I thought as I swept the floor, "What will Pa do to me? What lie can I tell him when I go home? Why did we ever climb that cherry tree and break it down for anyway? Why did we run crazy over the hills away from the crowd? Why did we do all of this? Six of us climbed up in a little cherry tree after one little lizard! Why did the tree split and fall with us? It should have been a stronger tree! Why did Eif Crabtree just happen to be below us plowing and catch us in his cherry tree? Why wasn't he a better man than to charge us six dollars for the tree?"

It was six o'clock when I left the schoolhouse. I had six miles to walk home. It would be after seven when I got home. I had all my work to do when I got home. It took Pa and I both to do the work. Seven cows to milk. Nineteen head of cattle to feed, four mules, twenty-five hogs, firewood and stovewood to cut, and water to draw from the well. He would be doing it when I got home. He would be mad and wondering what was keeping me!

I hurried home. I would run under the dark, leafless trees. I would walk fast uphill. I would run down the hill. The ground was freezing. I had to hurry. I had to run. I reached the long ridge that led to our cow pasture. I ran along this ridge. The wind dried the sweat on my face. I ran across the pasture to the house.

I threw down my books in the chipyard. I ran to the barn to spread fodder on the ground for the cattle. I didn't take time to change my clean school clothes for my old work clothes. I ran out to the barn. I saw Pa spreading fodder on the ground to the cattle. That was my job. I ran up to the fence. I says, "Leave that for me, Pa. I'll do it. I'm just a little late."

"I see you are," says Pa. He turned and looked at me. His eyes danced fire. "What in th' world has kept you so? Why ain't you been here to help me with this work? Make a gentleman out'n one boy in th' family and this is what you get! Send you to high school and you get too onery fer th' buzzards to smell!"

I never said anything. I didn't want to tell why I was late from school. Pa stopped scattering the bundles of fodder. He looked at me. He says, "Why are you gettin' in here this time o' night? You tell me or I'll take a hickory withe to you right here on th' spot!"

I says, "I had to stay after school." I couldn't lie to Pa. He'd go to school and find out why I had to stay. If I lied to him it would be too bad for me.

"Why did you haf to stay atter school?" says Pa.

I says, "0ur biology class went on a field trip today. Six of us boys broke down a cherry tree. We had to give a dollar apiece to pay for the tree. I didn't have the dolIar. Professor Herbert is making me work out my dollar. He gives me twenty-five cents an hour. I had to stay in this afternoon. I'll have to stay in tomorrow afternoon!"

"Are you telling me th' truth?" says Pa.

"I'm telling you the truth," I says. "Go and see for yourself."

"That's just what I'll do in th' mornin'," says Pa. "Jist whose cherry tree did you break down?"

"Eif Crabtree's cherry tree!"

"What was you doin' clear out in Eif Crabtree's place?" says Pa. "He lives four miles from th' county high school. Don't they teach you no books at that high school? Do they jist let you get out and gad over th' hillsides? If that's all they do I'll keep you at home, Dave. I've got work here fer you to do!"

"Pa," I says, "spring is just getting here. We take a subject in school where we have to have bugs, snakes, flowers, lizards, frogs, and plants. It is biology. It was a pretly day today. We went out to find a few of these. Six of us boys saw a lizard at the same time sunning on a cherry tree. We all went up the tree to get it. We broke the tree down. It split at the forks. Eif Crabtree was plowing down below us. He ran up the hill and got our names. The other boys gave their dollar apiece. I didn't have mine. Professor Herbert put mine in for me. I have to work it out at school."

"Poor man's son, huh," says Pa. "I'll attend to that myself in th' mornin'. I'll take keer o' 'im. He ain't from this county nohow. I'll go down there in th' mornin' and see 'im. Lettin' you leave your books and galavant all over th' hills. What kind of a school is it nohow! Didn't do that, my son, when I's a little shaver in school. All fared alike too."

"Pa, please don't go down there," I says, "just let me have fifty cents and pay the rest of my fine! I don't want you to go down there! I don't want you to start anything with Professor Herbert!

"Ashamed of your old Pap are you, Dave," says Pa, "atter th' way I've worked to raise you! Tryin' to send you to school so you can make a better livin' than I've made.

"I'll straighten this thing out myself! I'll take keer o' Professor Herbert myself! He ain't got no right to keep you in and let the other boys off jist because they've got th' money! I'm a poor man. A bullet will go in a professor same as it will any man. It will go in a rich man same as it will a poor man. Now you get into this work before I take one o' these withes and cut the shirt off'n your back!"

I thought once I'd run through the woods above the barn just as hard as I could go. I thought I'd leave high school and home forever! Pa could not catch me! I'd get away! I couldn't go back to school with him. He'd have a gun and maybe he'd shoot Professor Herbert. It was hard to tell what he would do. I could tell Pa that school had changed in the hills from the way it was when he was a boy, but he wouldn't understand. I could tell him we studied frogs, birds, snakes, lizards, flowers, insects. But Pa wouldn't understand. If I did run away from home it wouldn't matter to Pa. He would see Professor Herbert anyway. He would think that high school and Professor Herbert had run me away from home. There was no need to run away. I'd just have to stay, finish foddering the cattle, and go to school with Pa the next morning.

I would take a bundle of fodder, remove the hickory witheband from around it, and scatter it on rocks, clumps of green briers, and brush so the cattle wouldn't tramp it under their feet. I would lean it up against the oak trees and the rocks in the pasture just above our pigpen on the hill. The fodder was cold and frosty where it had set out in the stacks. I would carry bundles of the fodder from the stack until I had spread out a bundle for each steer. Pa went to the barn to feed the mules and throw corn in the pen to the hogs.

The moon shone bright in the cold March sky. I finished my work by moonlight. Professor Herbert really didn't know how much work I had to do at home. If he had known he would not have kept me after school. He would have loaned me a dolIar to have paid my part on the cherry tree. He had never lived in the hills. He didn't know the way the hill boys had to work so that they could go to school. Now he was teaching in a county high school where all the boys who attended were from hill farms.

After I'd finished doing my work I went to the house and ate my supper. Pa and Mom had eaten. My supper was getting cold. I heard Pa and Mom talking in the front room. Pa was telling Mom about me staying in after school.

"I had to do all th' milkin' tonight, chop th' wood myself. It's too hard on me atter I've turned ground all day. I'm goin' to take a day off tomorrow and see if I can't remedy things a little. I'll go down to that high school tomorrow. I won't be a very good scholar fer Professor Herbert nohow. He won't keep me in atter school. I'll take a different kind of lesson down there and make 'im acquainted with it."

"Now, Luster," says Mom, "you jist stay away from there. Don't cause a lot o' trouble. You can be jailed fer a trick like that. You'll get th' Law atter you. You'll jist go down there and show off and plague your own boy Dave to death in front o' all th' scholars!"

"Plague or no plague," says Pa, "he don't take into consideration what all I haf to do here, does he? I'll show 'im it ain't right to keep one boy in and let the rest go scot-free. My boy is good as th' rest, ain't he? A bullet will make a hole in a schoolteacher same as it will anybody else. He can't do me that way and get by with it. I'll plug 'im first. I aim to go down there bright and early in the mornin' and get all this straight! I aim to see about bug larnin' and this runnin' all over God's creation huntin' snakes, lizards, and frogs. Ransackin' th' country and goin' through cherry orchards and breakin' th' trees down atter lizards! 0ld Eif Crabtree ought to a-poured th' hot lead to 'em instead o' chargin' six dollars fer th' tree! He ought to a-got old Herbert th' first one!"

I ate my supper. I slipped upstairs and lit the lamp. I tried to forget the whole thing. I studied plane geometry. Then I studied my biology lesson. I could hardly study for thinking about Pa. "He'll go to school with me in the morning. He'll take a gun for Professor Herbert! What will Professor Herbert think of me! I'll tell him when Pa leaves that I couldn't help it. But Pa might shoot him. I hate to go with Pa. Maybe he'll cool off about it tonight and not go in the morning."

Pa got up at four o'clock. He built a fire in the stove. Then he built a fire in the fireplace. He got Mom up to get breakfast. Then he got me up to help feed and milk. By the time we had our work done at the barn, Mom had breakfast ready for us. We ate our breakfast. Daylight came and we could see the bare oak trees covered white with frost. The hills were white with frost. A cold wind was blowing. The sky was clear. The sun would soon come out and melt the frost. The afternoon would be warm with sunshine and the frozen ground with thaw. There would be mud on the hills again. Muddy water would then run down the little ditches on the hills.

"Now, Dave," says Pa, "let's get ready fer school. I aim to go with you this mornin' and look into bug larnin', frog larnin', lizard and snake larnin', and breakin' down cherry trees! I don't like no sicha foolish way o' larnin' myself!"

Pa hadn't forgot. I'd have to take him to school with me. He would take me to school with him. We were going early. I was glad we were going early. If Pa pulled a gun on Professor Herbert there wouldn't be so many of my classmates there to see him.

I knew that Pa wouldn't be at home in the high school. He wore overalls, big boots, a blue shirt and a sheepskin coat and a slouched black hat gone to seed at the top. He put his gun in its holster. We started trudging toward the high schoo1 across the hill.

It was early when we got to the county high school. Professor Herbert had just got there. I just thought as we walked up the steps into the schoolhouse, "Maybe Pa will find out Professor Herbert is a good man. He just doesn't know him. Just like I felt toward the Lambert boys across the hill. I didn't like them until I'd seen them and talked to them. After I went to school with them and talked to them, I liked them and we were friends. It's a lot in knowing the other fellow."

"You're th' Professor here, ain't you?" says Pa.

"Yes," says Professor Herbert, "and you are Dave's father."

"Yes," says Pa, pulling out his gun and laying it on the seat in Professor Herbert's office. Professor Herbert's eyes got big behind his black-rimmed glasses when he saw Pa's gun. Color came into his pale cheeks.

"Jist a few things about this school I want to know," says Pa. "I'm tryin' to make a scholar out'n Dave. He's the only one out'n eleven youngins I've sent to high school. Here he comes in late and leaves me all th' work to do! He said you's all out bug huntin' yesterday and broke a cherry tree down. He had to stay two hours atter school yesterday and work out money to pay on that cherry tree! Is that right?"

"Wwwwy," says Professor Herbert, "I guess it is."

He looked at Pa's gun.

"Well," says Pa, "this ain't no high school. It's a bug school, a lizard school, a snake school! It ain't no school nohow!"

"Why did you bring that gun?" says Professor Herbert to Pa.

"You see that little hole," says Pa as he picked up the long blue forty-four and put his finger on the end of the barrel, "a bullet can come out'n that hole that will kill a schoolteacher same as it will any other man. It will kill a rich man same as a poor man. It will kill a man. But atter I come in and saw you, I know'd I wouldn't need it. This maul o' mine could do you up in a few minutes."

Pa stood there, big, hard, brown-skinned, and mighty beside of Professor Herbert. I didn't know Pa was so much bigger and harder. I'd never seen Pa in a schoolhouse before. I'd seen Professor Herbert. He'd always looked big before to me. He didn't look big standing beside of Pa.

"I was only doing my duty," says Professor Herbert, "Mr. Sexton, and following the course of study the state provided us with."

"Course o' study," says Pa, "what study, bug study? Varmint study? Takin' youngins to th' woods and their poor old Ma's and Pa's at home a-slavin' to keep 'em in school and give 'em a education! You know that's dangerous, too, puttin' a lot o' boys and girIs out together like that!"

Students were coming into the schoolhouse now.

Professor Herbert says, "Close the door, Dave, so others won't hear."

I walked over and closed the door. I was shaking like a leaf in the wind. I thought Pa was going to hit Professor Herbert every minute. He was doing all the talking. His face was getting red. The red color was coming through the brown, weather-beaten skin on Pa's face.

"I was right with these students," says Professor Herbert. "I know what they got into and what they didn't. I didn't send one of the other teachers with them on this field trip. I went myself. Yes, I took the boys and girIs together. Why not?"

"It jist don't look good to me," says Pa, "a-takin' all this swarm of youngins out to pillage th' whole deestrict. Breakin' down cherry trees. Keepin' boys in atter school."

"What else could I have done with Dave, Mr. Sexton?" says Professor Herbert. "The boys didn't have any business all climbing that cherry tree after one lizard. One boy could have gone up in the tree and got it. The farmer charged us six dollars. It was a little steep, I think, but we had it to pay. Must I make five boys pay and let your boy off? He said he didn't have the dollar and couldn't get it. So I put it in for him. I'm letting him work it out. He's not working for me. He's working for the school!"

"I jist don't know what you could a-done with 'im," says Pa, "only a-larruped im with a withe! That's what he needed!"

"He's too big to whip," says Professor Herbert, pointing at me. "He's a man in size."

"He's not too big fer me to whip," says Pa. "They ain't too big until they're over twenty-one! It jist didn't look fair to me! Work one and let th' rest out because they got th' money. I don't see what bugs has got to do with a high school! It don't look good to me nohow!"

Pa picked up his gun and put it back in its holster. The red color left Professor Herbert's face. He talked more to Pa. Pa softened a littIe. It looked funny to see Pa in the high-school building. It was the first time he'd ever been there.

"We were not only hunting snakes, toads, flowers, butterflies, lizards," says Professor Herbert, "but, Mr. Sexton, I was hunting dry timothy grass to put in an incubator and raise some protozoa."

" I don't know what that is," says Pa. "Th' incubator is th' new-fangled way o' cheatin' th' hens and raisin' chickens. I ain't so sure about th' breed o' chickens you mentioned."

"You've heard of germs, Mr. Sexton, haven't you?" says Professor Herbert.

"Jist call me Luster, if you don't mind," says Pa, very casual like.

"All right, Luster, you've heard of germs, haven't you?"

"Yes," says Pa, "but I don't believe in germs. I'm sixty-five years old and I ain't seen one yet!"

"You can't see them with your naked eye," says Professor Herbert. "Just keep that gun in the holster and stay with me in the high school today. I have a few things want to show you. That scum on your teeth has germs in it."

"What," says Pa, "you mean to tell me I've got germs on my teeth!

"Yes," says Professor Herbert. "The same kind as we might be able to find in a living black snake if we dissect it!"

"I don't mean to dispute your word," says Pa, "but I don't believe it. I don't believe I have germs on my teeth!"

"Stay with me today and I'll show you. I want to take you through the school anyway! School has changed a lot in the hills since you went to school. I don't guess we had high schools in this county when you went to school!"

"No," says Pa, "jist readin', writin', and cipherin'. We didn't have all this bug larnin', frog larnin', and findin' germs on your teeth and in the middle o' black snakes! Th' world's changin'."

"It is," says Professor Herbert, "and we hope all for the better. Boys like your own there are going to help change it. He's your boy. He knows all of what I've told you. You stay with me today."

"I'll shore stay with you," says Pa. " I want to see th' germs off'n my teeth. I jist want to see a germ. I've never seen one in my life. 'Seein' is believin',' Pap allus told me."

Pa walks out of the office with Professor Herbert. I just hoped Professor Herbert didn't have Pa arrested for pulling his gun. Pa's gun has always been a friend to him when he goes to settle disputes.

The bell rang. School took up. I saw the students when they marched in the schoolhouse look at Pa. They would grin and punch each other. Pa just stood and watched them pass in at the schoolhouse door. Two long lines marched in the house. The boys and girls were clean and well dressed. Pa stood over in the schoolyard under a leafless elm, in his sheepskin coat, his big boots laced in front with buckskin, and his heavy socks stuck above his boot tops. Pa's overalIs legs were baggy and wrinkled between his coat and boot tops. His blue work shirt showed at the collar. His big black hat showed his gray-streaked black hair. His face was hard and weather-tanned to the color of a ripe fodder blade. His hands were big and gnarled like the roots of the elm tree he stood beside.

When I went to my first cIass I saw Pa and Professor Herbert going around over the schoolhouse. I was in my geometry class when Pa and Professor Herbert came in the room. We were explaining our propositions on the blackboard. Professor Herbert and Pa just quietly came in and sat down for awhile. I heard Fred Wutts whisper to Glenn Armstrong, "Who is that old man? Lord, he's a rough-looking scamp." Glenn whispered back, "I think he's Dave's Pap." The students in geometry looked at Pa. They must have wondered what he was doing in school. Before the cIass was over, Pa and Professor Herbert got up and went out. I saw them together down on the playground. Professor Herbert was explaining to Pa. I could see the prints of Pa's gun under his coat when he'd walk around.

At noon in the high-school cafeteria Pa and Professor Herbert sat together at the little table where Professor Herbert always ate by himself. They ate together. The students watched the way Pa ate. He ate with his knife instead of his fork. A lot of the students felt sorry for me after they found out he was my father. They didn't have to feel sorry for me. I wasn't ashamed of Pa after I found out he wasn't going to shoot Professor Herbert. I was glad they had made friends. I wasn't ashamed of Pa. I wouldn't be as long as he behaved. He would find out about the high school as I had found out about the Lambert boys across the hill.

In the afternoon when we went to biology Pa was in the class. He was sitting on one of the high stools beside the microscope. We went ahead with our work just as if Pa wasn't in the class. I saw- Pa take his knife and scrape tartar from one of his teeth. Professor Herbert put it on the lens and adjusted the microscope for Pa. He adjusted it and worked awhile. Then he says: "Now Luster, look! Put your eye right down to the light. Squint the other eye!"

Pa put his head down and did as Professor Herbert said. "I see 'im," says Pa. 'Who'd a ever thought that? Right on a body's teeth! Right in a body's mouth. You're right certain they ain't no fake to this, Professor Herbert?"

"No, Luster," says Professor Herbert. "It's there. That's the germ. Germs live in a worId we cannot see with the naked eye. We must use the microscope. There are millions of them in our bodies. Some are harmful. Others are helpful."

Pa holds his face down and looks through the microscope. We stop and watch Pa. He sits upon the tall stool. His knees are against the table. His legs are long. His coat slips up behind when he bends over. The handle of his gun shows. Professor Herbert pulls his coat down quickly.

"Oh, yes," says Pa. He gets up and pulls his coat down. Pa's face gets a little red. He knows about his gun and he knows he doesn't have any use for it in high school.

"We have a big black snake over here we caught yesterday," says Professor Herbert. "We'll chloroform him and dissect him and show you he has germs in his body, too."

"Don't do it," says Pa. "I believe you. I jist don't want to see you kill the black snake. I never kill one. They are good mousers and a lot o' help to us on the farm. I like black snakes. I jist hate to see people kill 'em. I don't allow 'em killed on my place."

The students look at Pa. They seem to like him better after he said that. Pa with a gun in his pocket but a tender heart beneath his ribs for snakes, but not for man! Pa won't whip a mule at home. He won't whip his cattle.

"Man can defend hisself," says Pa, "but cattle and mules can't. We have the drop on 'em. Ain't nothin' to a man that'll beat a good pullin' mule. He ain't got th' right kind o' a heart!"

Professor Herbert took Pa through the laboratory. He showed him the different kinds of work we were doing. He showed him our equipment. They stood and talked while we worked. Then they walked out together. They talked louder when they got out in the hall.

When our biology class was over I walked out of the room. It was our last class for the day. I would have to take my broom and sweep two hours to finish paying for the split cherry tree. I just wondered if Pa would want me to stay. He was standing in the hallway watching the students march out. He looked lost among us. He looked like a leaf turned brown on the tree among the treetop filled with growing leaves.

I got my broom and started to sweep. Professor Herbert walked up and says, "I'm going to let you do that some other time. You can go home with your father. He is waiting out there."

I Iaid my broom down, got my books, and went down the steps.

Pa says, "Ain't you got two hours o' sweepin' yet to do?"

I says, "Professor Herbert said I could do it some other time. He said for me to go home with you."

"No," says Pa. "You are goin' to do as he says. He's a good man. School has changed from my day and time. I'm a dead leaf, Dave. I'm behind. I don't belong here. If he'll let me I'll get a broom and we'll both sweep one hour. That pays your debt. I'll hep you pay it. I'll ast 'im and see if he won't let me hep you."

"I'm going to cancel the debt," says Professor Herbert. "I just wanted you to understand, Luster."

"I understand," says Pa, "and since I understand he must pay his debt fer th' tree and I'm goin' to hep 'im."

"Don't do that," says Professor Herbert. "It's all on me."

"We don't do things like that," says Pa, "we're just and honest people. We don't want somethin' fer nothin'. Professor Herbert, you're wrong now and I'm right. You'll haf to listen to me. I've larned a lot from you. My boy must go on. Th' worId has left me. It changed while I've raised my family and plowed th' hills. I'm a just and honest man. I don' skip debts. I ain't larned 'em to do that. I ain't got much larnin' myself but I do know right from wrong atter I see through a thing."

Professor Herbert went home. Pa and I stayed and swept one hour. It looked funny to see Pa use a broom. He never used one at home. Mom used the broom. Pa used the plow. Pa did hard work. Pa says, "I can't sweep. Durned if I can. Look at th' streaks o' dirt I leave on th' floor! Seems like no work a-tall fer me. Brooms is too light 'r somethin'. I'll jist do th' best I can, Dave. I've been wrong about th' school."

I says, "Did you know Professor Herbert can get a warrant out for you for bringing your pistoI to school and showing it in his office! They can railroad you for that!"

"That's all made right," says Pa. "I've made that right. Professor Herbert ain't goin' to take it to court. He likes me. I like 'im. We jist had to get together. He had the remedies. He showed me. You must go on to school. I am as strong a man as ever come out'n th' hills fer my years and th' hard work I've done. But I'm behind, Dave. I'm a little man. Your hands will be softer than mine. Your clothes will be better. You'll allus look cleaner than your old Pap. Jist remember, Dave, to pay your debts and be honest. Jist be kind to animals and don't bother th' snakes. That's all I got agin th' school. Puttin' black snakes to sleep and cuttin' 'em open."

It was late when we got home. Stars were in the sky. The moon was up. The ground was frozen. Pa took his time going home. I couldn't run like I did the night before. It was ten o'clock before we got the work finished, our suppers eaten. Pa sat before the fire and told Mom he was going to take her and show her a germ sometime. Mom hadn't seen one either. Pa told her about the high school and the fine man Professor Herbert was. He told Mom about the strange school across the hill and how different it was from the school in their day and time.