“Look here, my good girl,” he says; “you don’t understand me, or I don’t understand you, one or the other. When I go to sleep, I lie on a bed and pull the clothes over me. I don’t want to lie on the clothes, and cover myself with the bed. This isn’t a comic ballet, you know!”
The girl assures him that there is no mistake about the matter at all. There is the bed, made according to German notions of how a bed should be made. He can make the best of it and try to go to sleep upon it, or he can be sulky and go to sleep on the floor.
He is very much surprised. It looks to him the sort of bed that a man would make for himself on coming home late from a party. But it is no use arguing the matter with the girl.
“All right,” he says; “bring me a pillow, and I’ll risk it!”
The chambermaid explains that there are two pillows on the bed already, indicating, as she does so, two flat cushions, each one a yard square, placed one on top of the other at one end of the mixture.
“These!” exclaims the weary traveller, beginning to feel that he does not want to go to bed at all. “These are not pillows! I want something to put my head on; not a thing that comes down to the middle of my back! Don’t tell me that I’ve got to sleep on these things!”
But the girl does tell him so, and also implies that she has something else to do than to stand there all day talking bed-gossip with him.
“Well, just show me how to start,” he says, “which way you get into it, and then I won’t keep you any longer; I’ll puzzle out the rest for myself.”
She explains the trick to him and leaves, and he undresses and crawls in.
The pillows give him a good deal of worry. He does not know whether he is meant to sit on them or merely to lean up against them. In experimenting upon this point, he bumps his head against the top board of the bedstead. At this, he says, “Oh!” and shoots himself down to the bottom of the bed. Here all his ten toes simultaneously come into sharp contact with the board at the bottom.