The heavy wheels of the band wagon began turning; the parade started moving on again. But in that precious half-minute's halt something else had happened, only this happened in front of the little brown house halfway down Clay Street. The clown's gaze was roving this way and that, as if looking for the crowd that should have been there and that was only just beginning to appear, breathless and panting, and his eyes fell upon a wasted, wizened little face looking straight out at him from a nest of bedclothes in a window not thirty feet away; and—be it remembered among that clown's good deeds in the hereafter—he stood up and bowed, and stretched his painted, powdered face in a wide and gorgeous grin, just as another and a greater Grimaldi once did for just such another audience of a grieving mother and a dying child. Then he yelled “Whoa, January,” three separate times, and each time he poked January in his long-suffering flanks and each time January kicked up his small quick hoofs right alongside the clown's floury ears.
The steam calliope man had an inspiration too. He was a person of no great refinement, the calliope man, and he worked a shell game for his main source of income and lived rough and lived hard, so it may not have been an inspiration after all, but merely the happy accident of chance. But whether it was or it wasn't, he suddenly and without seeming reason switched from the tune he was playing and made his calliope sound out the first bars of the music which somebody once set to the sweetest childhood verses that Eugene Field ever wrote—the verses that begin:
The little toy dog is covered with dust,
But sturdy and stanch he stands;
And the little toy soldier is red with rust,
And his musket molds in his hands.
The parade resumed its march then and went on, tailing away through the dappled sunshine under the trees, and up over the hill and down the other side of it, but the clown looked back as he scalped the crest and waved one arm, in a baggy calico sleeve, with a sort of friendly goodby motion to somebody behind him; and as for the steam calliope man, he kept on playing the little Boy Blue verses until he disappeared.
As a matter of fact, he was still playing them when he passed a wide-porched old white house almost at the end of the empty street, where a stout old man in a wrinkly white linen suit leaned across a gate and regarded the steam calliope man with a satisfied almost a proprietorial air.
VI. WHEN THE FIGHTING WAS GOOD
MISTER SHERIFF,” ordered the judge, “bring Pressley G. Harper to the bar.”
Judge Priest, as I may have set forth before, had two habits of speech—one purposely ungrammatical and thickly larded with the vernacular of the country crossroads—that was for his private walks and conversations, and for his campaignings; but the other was of good and proper and dignified English, and it he reserved for official acts and utterances. Whether upon the bench or off it, though, his voice had that high-pitched, fiddle-string note which carried far and clearly; and on this day, when he spoke, the sheriff roused up instantly from where he had been enjoying forty winks between the bewhittled arms of a tilted chair and bestirred himself. He hurried out of a side door. A little, whispering, hunching stir went through the courtroom. Spectators reclining upon the benches, partly on their spines and partly on their shoulderblades, straightened and bent forward. Inside the rail, which set apart the legal goats from the civic sheep, a score of eyes were fixed speculatively upon the judge's face, rising above the top of the tall, scarred desk where he sat; but his face gave no dew to his thoughts; and if the mind back of the beneficent, mild blue eyes was troubled, the eyes themselves looked out unvexed through the steel-bowed spectacles that rode low on the old judge's nose.