Use a jug—it is not what you make it in; it is how ye make it. It all hangs upon the word fresh—freshly roasted—freshly ground—water freshly boiled. And never touch it with metal. Pop it into an earthenware jug, pour in your boiling water straight upon it, stir it with a wooden spoon, set it on the hob ten minutes to settle; the grounds will all go to the bottom, though you might not think it, and you pour it out, fragrant, strong and clear. But the secret is, fresh, fresh, fresh, and don't stint your coffee.
Cyrus Townsend Brady's The Corner in Coffee is "a thrilling romance of the New York coffee market."
Coffee, Du Barry, and Louis XV figure in one scene of the story of The Moat with the Crimson Stains, as told by Elizabeth W. Champney in her Romance of the Bourbon Chateaux.[354] It tells of the German apprentice Riesener, who assisted his master Oeben in designing for Louis XV a beautiful desk with a secret drawer, which it took ten years of unremitting industry to execute. At the end, Riesener was to be accepted by his master as a partner and a son-in-law. Little Victoire, who loved to sit in a punt and trail her doll in the waters of the Bievre to see to what color its frock would be changed by the dyes of the Gobelin factory, was then only five, and Madam Oeben twenty-three. As the years rolled by, Riesener grew to love the mother and not the daughter, who, meanwhile, shot up into a slim girl, not of her mother's beauty, but of a loveliness all her own. Then there was a quarrel because the young apprentice thought the master should have resented the suggestion of M. Duplessis that his wife pose in the nude for the statuettes which were to hold the sconces on the king's desk; and Riesener left in a fine youthful frenzy, vowing he would never return while the maître lived. The latter, unable to complete the masterpiece which he loved more than anything else on earth, sought death, and perished in the crimson waters of the Bievre.
The maître had no enemies, but his quarrel with Riesener caused a fear to spring up in the widow's heart that the apprentice might have been guilty of his murder, so she refused to see him when, hearing of his master's death, he returned, stricken with remorse, to finish the desk. On it were the statuettes modeled in perfect likeness of Mlle. de Vaubernier, a wily little milliner of Riesener's bohemian set who had taken this way to bring herself to the attention of Louis XV. The ruse was successful; and after the acceptance of the desk, there was installed a new maîtresse en titre, the notorious Madame Du Barry, erstwhile the pretty milliner, Mlle. de Vaubernier.
Later, Madame Du Barry sent for the now famous ebeniste (cabinet maker); and, when her negro page Zamore admitted him, he found His Majesty Louis XV kneeling in front of the fireplace, making coffee for her while she laughed at him for scalding his fingers. He had been summoned to show the king the mechanism of the secret drawer, so cunningly concealed in the king's desk that no one could find it. But Riesener knew not the secret of his master, who had died without revealing it. Then the red revolution came; and when the pretty pavilion at Louveciennes was sacked, and its costly furniture hurled down the cliff to the Seine, the king's desk, shattered almost beyond repair, was carried to the Gobelins' factory and presented to Mme. Oeben in recognition of her husband's workmanship. Then the secret compartment was found to have been disclosed, and Riesener was absolved by a letter therein, from the maître, who intimated he was about to end it all because of paralysis. Riesener marries the widow and all ends happily.
James Lane Allen, in The Kentucky Warbler, tells a tale of the Blue Grass country and of a young hero who wanders after a bird's note to find romance and the key to his own locked nature. Here is an incident from his first forest adventure:
There was one tree he curiously looked around for, positive that he should not be blind to it if fortunate enough to set his eyes on one—the coffee tree. That is, he felt sure he'd recognize it if it yielded coffee ready to drink, of which never in his life had they given him enough. Not once throughout his long troubled experience as to being fed had he been allowed as much coffee as he craved. Once, when younger, he had heard some one say that the only tree in all the American forests that bore the name of Kentucky was the Kentucky coffee tree, and he had instantly conceived a desire to pay a visit in secret to that corner of the woods. To take his cup and a few lumps of sugar and sit under the boughs and catch the coffee as it dripped down.... No one to hold him back ... as much as he wanted at last.... The Kentucky coffee tree—his favorite in Nature!
John Kendrick Bangs relates, in Coffee and Repartee[355], some amusing skirmishes indulged in at the boarding-house table, between the Idiot and the guests, where coffee served the purpose of enlivening the tilt:
"Can't I give you another cup of coffee?" asked the landlady of the School Master.
"You may," returned the School Master, pained at the lady's grammar, but too courteous to call attention to it save by the emphasis with which he spoke the word "may".