And so Michael. Much in the same way that Kwaque loved and worshipped did he love and worship the six-quart man. To Michael and Kwaque, the daily, even hourly, recognition and consideration of Dag Daughtry was tantamount to resting continuously in the bosom of Abraham. The god of Messrs. Doane, Nishikanta, and Grimshaw was a graven god whose name was Gold. The god of Kwaque and Michael was a living god, whose voice could be always heard, whose arms could be always warm, the pulse of whose heart could be always felt throbbing in a myriad acts and touches.
No greater joy was Michael’s than to sit by the hour with Steward and sing with him all songs and tunes he sang or hummed. With a quantity or pitch even more of genius or unusualness in him than in Jerry, Michael learned more quickly, and since the way of his education was singing, he came to sing far beyond the best Villa Kennan ever taught Jerry.
Michael could howl, or sing, rather (because his howling was so mellow and so controlled), any air that was not beyond his register that Steward elected to sing with him. In addition, he could sing by himself, and unmistakably, such simple airs as “Home, Sweet Home,” “God save the King,” and “The Sweet By and By.” Even alone, prompted by Steward a score of feet away from him, could he lift up his muzzle and sing “Shenandoah” and “Roll me down to Rio.”
Kwaque, on stolen occasions when Steward was not around, would get out his Jews’ harp and by the sheer compellingness of the primitive instrument make Michael sing with him the barbaric and devil-devil rhythms of King William Island. Another master of song, but one in whom Michael delighted, came to rule over him. This master’s name was Cocky. He so introduced himself to Michael at their first meeting.
“Cocky,” he said bravely, without a quiver of fear or flight, when Michael had charged upon him at sight to destroy him. And the human voice, the voice of a god, issuing from the throat of the tiny, snow-white bird, had made Michael go back on his haunches, while, with eyes and nostrils, he quested the steerage for the human who had spoken. And there was no human . . . only a small cockatoo that twisted his head impudently and sidewise at him and repeated, “Cocky.”
The taboo of the chicken Michael had been well taught in his earliest days at Meringe. Chickens, esteemed by Mister Haggin and his white-god fellows, were things that dogs must even defend instead of ever attack. But this thing, itself no chicken, with the seeming of a wild feathered thing of the jungle that was fair game for any dog, talked to him with the voice of a god.
“Get off your foot,” it commanded so peremptorily, so humanly, as again to startle Michael and made him quest about the steerage for the god-throat that had uttered it.
“Get off your foot, or I’ll throw the leg of Moses at you,” was the next command from the tiny feathered thing.
After that came a farrago of Chinese, so like the voice of Ah Moy, that again, though for the last time, Michael sought about the steerage for the utterer.
At this Cocky burst into such wild and fantastic shrieks of laughter that Michael, ears pricked, head cocked to one side, identified in the fibres of the laughter the fibres of the various voices he had just previously heard.