Mrs. Schofield might have been more dismayed than she was, if she had realized that it was the beginning of an epoch. After dinner, Penrod was slightly scalded in the back as the result of telling Della, the cook, that there was a wart on the middle finger of her right hand. Della thus proving poor material for his new manner to work upon, he approached Duke, in the backyard, and, bending double, seized the lowly animal by the forepaws.
“I let you know my name's Penrod Schofield,” hissed the boy. He protruded his underlip ferociously, scowled, and thrust forward his head until his nose touched the dog's. “And you better look out when Penrod Schofield's around, or you'll get in big trouble! YOU UNDERSTAN' THAT, 'BO?”
The next day, and the next, the increasing change in Penrod puzzled and distressed his family, who had no idea of its source.
How might they guess that hero-worship takes such forms? They were vaguely conscious that a rather shabby boy, not of the neighbourhood, came to “play” with Penrod several times; but they failed to connect this circumstance with the peculiar behaviour of the son of the house, whose ideals (his father remarked) seemed to have suddenly become identical with those of Gyp the Blood.
Meanwhile, for Penrod himself, “life had taken on new meaning, new richness.” He had become a fighting man—in conversation at least. “Do you want to know how I do when they try to slip up on me from behind?” he asked Della. And he enacted for her unappreciative eye a scene of fistic manoeuvres wherein he held an imaginary antagonist helpless in a net of stratagems.
Frequently, when he was alone, he would outwit, and pummel this same enemy, and, after a cunning feint, land a dolorous stroke full upon a face of air. “There! I guess you'll know better next time. That's the way we do up at the Third!”
Sometimes, in solitary pantomime, he encountered more than one opponent at a time, for numbers were apt to come upon him treacherously, especially at a little after his rising hour, when he might be caught at a disadvantage—perhaps standing on one leg to encase the other in his knickerbockers. Like lightning, he would hurl the trapping garment from him, and, ducking and pivoting, deal great sweeping blows among the circle of sneaking devils. (That was how he broke the clock in his bedroom.) And while these battles were occupying his attention, it was a waste of voice to call him to breakfast, though if his mother, losing patience, came to his room, she would find him seated on the bed pulling at a stocking. “Well, ain't I coming fast as I CAN?”
At the table and about the house generally he was bumptious, loud with fatuous misinformation, and assumed a domineering tone, which neither satire nor reproof seemed able to reduce: but it was among his own intimates that his new superiority was most outrageous. He twisted the fingers and squeezed the necks of all the boys of the neighbourhood, meeting their indignation with a hoarse and rasping laugh he had acquired after short practice in the stable, where he jeered and taunted the lawn-mower, the garden-scythe and the wheelbarrow quite out of countenance.
Likewise he bragged to the other boys by the hour, Rupe Collins being the chief subject of encomium—next to Penrod himself. “That's the way we do up at the Third,” became staple explanation of violence, for Penrod, like Tartarin, was plastic in the hands of his own imagination, and at times convinced himself that he really was one of those dark and murderous spirits exclusively of whom “the Third” was composed—according to Rupe Collins.
Then, when Penrod had exhausted himself repeating to nausea accounts of the prowess of himself and his great friend, he would turn to two other subjects for vainglory. These were his father and Duke.