THE CIRCUS
The Maxwells were, in fact, effectively stirring up the ambitions of their flock, routing the older members out of a too easy-going acceptance of things-as-they-are, and giving to the younger ones vistas of a life imbued with more color and variety than had hitherto entered their consciousness. And yet it happened at Durford, on occasion, that this awakening of new talents and individuality produced unlocked for complications.
“Oh yes,” Hepsey remarked one day to Mrs. 148 Betty, when the subject of conversation had turned to Mrs. Burke’s son and heir, “Nickey means to be a good boy, but he’s as restless as a kitten on a hot Johnny-cake. He isn’t a bit vicious, but he do run his heels down at the corners, and he’s awful wearin’ on his pants-bottoms and keeps me patchin’ and mendin’ most of the time—‘contributing to the end in view,’ as Abraham Lincoln said. But, woman-like, I guess he finds the warmest spot in my heart when I’m doin’ some sort of repairin’ on him or his clothes. It would be easier if his intentions wasn’t so good, ’cause I could spank him with a clear conscience if he was vicious. But after all, Nickey seems to have a winnin’ way about him. He knows every farmer within three miles; he’ll stop any team he meets, climb into the wagon seat, take the reins, and enjoy himself to his heart’s content. All the men seem to like him and give in to him; more’s the pity! And he seems to just naturally lead the other kids in their games and mischief.”
“Oh well, I wouldn’t give a cent for a boy who didn’t get into mischief sometimes,” consoled Mrs. Betty.
At which valuation Nickey was then in process of putting himself and his young friends at a premium. For, about this time, in their efforts to amuse themselves, 149 Nickey and some of his friends constructed a circus ring back of the barn: After organizing a stock company and conducting several rehearsals, the rest of the boys in the neighborhood were invited to form an audience, and take seats which had been reserved for them without extra charge on an adjoining lumber pile. Besides the regular artists there were a number of specialists or “freaks,” who added much to the interest and excitement of the show.
For example, Sam Cooley, attired in one of Mrs. Burke’s discarded underskirts, filched from the ragbag, with some dried cornstalk gummed on his face, impersonated the famous Bearded Lady from Hoboken.
Billy Burns, wearing a very hot and stuffy pillow buttoned under his coat and thrust down into his trousers, represented the world-renowned Fat Man from Spoonville. His was rather a difficult role to fill gracefully, because the squashy pillow would persist in bulging out between his trousers and his coat in a most indecent manner; and it kept him busy most of the time tucking it in.
Dimple Perkins took the part of the Snake Charmer from Brooklyn, and at intervals wrestled fearlessly with a short piece of garden hose which was labeled on the bills as an “Anna Condy.” This he wound 150 around his neck in the most reckless manner possible; it was quite enough to make one’s blood run cold to watch him.
The King of the Cannibal Islands was draped in a buffalo robe, with a gilt paper crown adorning his head, and a very suggestive mutton-bone in his hand.
Poor little Herman Amdursky was selected for the Living Skeleton, because of the spindle-like character of his nethermost limbs. He had to remove his trousers and his coat, and submit to having his ribs wound with yards of torn sheeting, in order that what little flesh he had might be compressed to the smallest possible compass. The result was astonishingly satisfactory.