“Oh! bad luck to yees intirely,” said the Big Bear from behind the scenes in an angry whisper, which was distinctly heard by the audience, “ye’ve gone and spoiled it all, ye have. Come off, will ye, and take yer turn at the right time, won’t ye?”
In the midst of the shout of delight caused by this mistake, O’Riley, forgetting that he was a bear, rushed on the stage on his hind-legs, seized the Little Bear by the fore-leg, and dragged him off at the other side amid loud applause. Blunderbore, with admirable self-possession, resumed his part the instant there was a calm, and carried it successfully to a close.
Just as he ended, Fred waddled on, in the guise of an Esquimaux woman, and so well was he got up that the crew looked round to see if Aninga (who, with her husband, had been allowed to witness the play) was in her place. Fred had intentionally taken Aninga as his model, and had been very successful in imitating the top-knot of hair. The baby, too, was hit off to perfection, having been made by Mivins, who proved himself a genius in such matters. Its head was a ball of rags covered with brown leather, and two white bone buttons with black spots in the centre did duty for its eyes.
The first thing Whackinta did on coming forward was to deposit the baby on the snow with its head downwards by mistake, whereat it began to scream vociferously. This scream was accomplished by Davie Summers creeping below the stage and putting his mouth to a hole in the flooring close to which the baby’s head lay. Davie’s falsetto was uncommonly like to a child’s voice, and the effect was quite startling. Of course Whackinta tried to soothe it, and, failing in this she whipped it, which caused it to yell with tenfold violence. Thereafter, losing all patience, she covered its face and stuffed its mouth with a quantity of snow, and, laying it down on its back, placed a large block of ice on its head. This, as might be expected, had the desired effect, and the baby was silenced,—not, however, until Whackinta had twice called down the hole in a hoarse whisper: “That’ll do, Davie; stop, man, stop!” Then, sitting down on the hummock which Blunderbore had just left—and from behind which he was now eagerly watching her,—she began to weep.
Having given full vent to her feelings in a series of convulsive sobs, Whackinta addressed a lengthened harangue, in a melancholy tone of voice, to the audience, the gist of which was that she was an unfortunate widow; that two bears had fallen in love with her, and stolen her away from her happy home in Nova Zembla; and, although they allowed her to walk about as much as she chose, they watched her closely and prevented her escaping to her own country. Worst of all, they had told her that she must agree to become the wife of one or other of them, and if she did not make up her mind, and give them an answer that very day, she was to be killed and eaten by both of them. In order the more strongly to impress the audience with her forlorn condition, Whackinta sang a tender and touching ditty, composed by herself expressly for the occasion, and sang it so well that it was encored twice.
To all this Blunderbore listened with apparent rapture, and at length ventured to advance and discover himself, but the instant Whackinta saw him she fell on her knees and trembled violently.
“Spare me, good king,” she said; “do not slay me. I am a poor widow, and have been brought here by two bears against my will.”
“Woman,” said the Giant, “my name is Blunderbore. I am, as you perceive by my crown, a king, and I am a lonely man. If I kill the two bears you speak of, will you marry me?”
“Oh, do not ask me, good Blunderbore, I cannot! It is impossible. I cannot love you; you are—forgive me for saying it—too big, and fierce, and ugly to love.”
Blunderbore frowned angrily, and the audience applauded vociferously at this.