A Plea for Old Cap Collier

In three separate schoolbooks, each the work of a different compilator, I discover Sir Walter Scott's poetic contribution touching on Young Lochinvar—Young Lochinvar who came out of the West, the same as the Plumb plan subsequently came, and the Hiram Johnson presidential boom and the initiative and the referendum and the I. W. W. Even in those ancient times the West appears to have been a favorite place for upsetting things to come from; so I can't take issue with Sir Walter there. But I do take issue with him where he says:

  So light to the croupe the fair lady he swung,  So light to the saddle before her he sprung!

Even in childhood's hour I am sure I must have questioned the ability of Young Lochinvar to perform this achievement, for I was born and brought up in a horseback-riding country. Now in the light of yet fuller experience I wish Sir Walter were alive to-day so I might argue the question out with him.

Let us consider the statement on its physical merits solely. Here we have Young Lochinvar swinging the lady to the croupe, and then he springs to the saddle in front of her. Now to do this he must either take a long running start and leapfrog clear over the lady's head as she sits there, and land accurately in the saddle, which is scarcely a proper thing to do to any lady, aside from the difficulty of springing ten or fifteen feet into the air and coming down, crotched out, on a given spot, or else he must contribute a feat in contortion the like of which has never been duplicated since.

To be brutally frank about it, the thing just naturally is not possible. I don't care if Young Lochinvar was as limber as a yard of fresh tripe—and he certainly did shake a lithesome calf in the measures of the dance if Sir Walter, in an earlier stanza, is to be credited with veracity. Even so, I deny that he could have done that croupe trick. There isn't a croupier at Monte Carlo who could have done it. Buffalo Bill couldn't have done it. Ned Buntline wouldn't have had Buffalo Bill trying to do it. Doug Fairbanks couldn't do it. I couldn't do it myself.

Skipping over Robert Southey's tiresome redundancy in spending so much of his time and mine, when I was in the Fifth Reader stage, in telling how the waters came down at Ladore when it was a petrified cinch that they, being waters, would have to come down, anyhow, I would next direct your attention to two of the foremost idiots in all the realm of poesy; one a young idiot and one an older idiot, probably with whiskers, but both embalmed in verse, and both, mind you, stuck into every orthodox reader to be glorified before the eyes of childhood. I refer to that juvenile champion among idiots, the boy who stood on the burning deck, and to the ship's captain in the poem called The Tempest. Let us briefly consider the given facts as regards the latter: It was winter and it was midnight and a storm was on the deep, and the passengers were huddled in the cabin and not a soul would dare to sleep, and they were shuddering there in silence—one gathers the silence was so deep you could hear them shuddering—and the stoutest held his breath, which is considerable feat, as I can testify, because the stouter a fellow gets the harder it is for him to hold his breath for any considerable period of time. Very well, then, this is the condition of affairs. If ever there was a time when those in authority should avoid spreading alarm this was the time. By all the traditions of the maritime service it devolved upon the skipper to remain calm, cool and collected. But what does the poet reveal to a lot of trusting school children?

  "We are lost!" the captain shouted,  As he staggered down the stair.

He didn't whisper it; he didn't tell it to a friend in confidence; he bellowed it out at the top of his voice so all the passengers could hear him. The only possible excuse which can be offered for that captain's behavior is that his staggering was due not to the motion of the ship but to alcoholic stimulant. Could you imagine Little Sure Shot, the Terror of the Pawnees, drunk or sober, doing an asinine thing like that? Not in ten thousand years, you couldn't. But then we must remember that Little Sure Shot, being a moral dime-novel hero, never indulged in alcoholic beverages under any circumstances.

The boy who stood on the burning deck has been played up as an example of youthful heroism for the benefit of the young of our race ever since Mrs. Felicia Dorothea Hemans set him down in black and white. I deny that he was heroic. I insist that he merely was feeble-minded. Let us give this youth the careful once-over: The scene is the Battle of the Nile. The time is August, 1798. When the action of the piece begins the boy stands on the burning deck whence all but him had fled. You see, everyone else aboard had had sense enough to beat it, but he stuck because his father had posted him there. There was no good purpose he might serve by sticking, except to furnish added material for the poetess, but like the leather-headed young imbecile that he was he stood there with his feet getting warmer all the time, while the flame that lit the battle's wreck shone round him o'er the dead. After which:

  There came a burst of thunder sound;  The boy—oh! where was he?  Ask of the winds, that far around  With fragments strewed the sea—

Ask the waves. Ask the fragments. Ask Mrs. Hemans. Or, to save time, inquire of me.

He has become totally extinct. He is no more and he never was very much. Still we need not worry. Mentally he must have been from the very outset a liability rather than an asset. Had he lived, undoubtedly he would have wound up in a home for the feeble-minded. It is better so, as it is—better that he should be spread about over the surface of the ocean in a broad general way, thus saving all the expense and trouble of gathering him up and burying him and putting a tombstone over him. He was one of the incurables.

Once upon a time, writing a little piece on another subject, I advanced the claim that the champion half-wit of all poetic anthology was Sweet Alice, who, as described by Mr. English, wept with delight when you gave her a smile, and trembled in fear at your frown. This of course was long before Prohibition came in. These times there are many ready to weep with delight when you offer to give them a smile; but in Mr. English's time and Alice's there were plenty of saloons handy. I remarked, what an awful kill-joy Alice must have been, weeping in a disconcerting manner when somebody smiled in her direction and trembling violently should anybody so much as merely knit his brow!

But when I gave Alice first place in the list I acted too hastily. Second thought should have informed me that undeniably the post of honor belonged to the central figure of Mr. Henry W. Longfellow's poem, Excelsior. I ran across it—Excelsior, I mean—in three different readers the other day when I was compiling some of the data for this treatise. Naturally it would be featured in all three. It wouldn't do to leave Mr. Longfellow's hero out of a volume in which space was given to such lesser village idiots as Casabianca and the Spartan youth. Let us take up this sad case verse by verse:

  The shades of night were falling fast,  As through an Alpine village passed  A youth, who bore, 'mid snow and ice,  A banner with the strange device,  Excelsior!

There we get an accurate pen picture of his young man's deplorable state. He is climbing a mountain in the dead of winter. It is made plain later on that he is a stranger in the neighborhood, consequently it is fair to assume that the mountain in question is one he has never climbed before. Nobody hired him to climb any mountain; he isn't climbing it on a bet or because somebody dared him to climb one. He is not dressed for mountain climbing. Apparently he is wearing the costume in which he escaped from the institution where he had been an inmate—a costume consisting simply of low stockings, sandals and a kind of flowing woolen nightshirt, cut short to begin with and badly shrunken in the wash. He has on no rubber boots, no sweater, not even a pair of ear muffs. He also is bare-headed. Well, any time the wearing of hats went out of fashion he could have had no use for his head, anyhow.

I grant you that in the poem Mr. Longfellow does not go into details regarding the patient's garb. I am going by the illustration in the reader. The original Mr. McGuffey was very strong for illustrations. He stuck them in everywhere in his readers, whether they matched the themes or not. Being as fond of pictures as he undoubtedly was, it seems almost a pity he did not marry the tattooed lady in a circus and then when he got tired of studying her pictorially on one side he could ask her to turn around and let him see what she had to say on the other side. Perhaps he did. I never gleaned much regarding the family history of the McGuffeys.

Be that as it may, the wardrobe is entirely unsuited for the rigors of the climate in Switzerland in winter time. Symptomatically it marks the wearer as a person who is mentally lacking. He needs a keeper almost as badly as he needs some heavy underwear. But this isn't the worst of it. Take the banner. It bears the single word "Excelsior." The youth is going through a strange town late in the evening in his nightie, and it winter time, carrying a banner advertising a shredded wood-fiber commodity which won't be invented until a hundred and fifty years after he is dead!

Can you beat it? You can't even tie it.

Let us look further into the matter:

  His brow was sad; his eyes beneath  Flashed like a falchion from its sheath,  And like a silver clarion rung  The accents of that unknown tongue,  Excelsior!

Get it, don't you? Even his features fail to jibe. His brow is corrugated with grief, but the flashing of the eye denotes a lack of intellectual coherence which any alienist would diagnose at a glance as evidence of total dementia, even were not confirmatory proof offered by his action in huckstering for a product which doesn't exist, in a language which no one present can understand. The most delirious typhoid fever patient you ever saw would know better than that.

To continue:

  In happy homes he saw the light  Of household fires gleam warm and bright;  Above, the spectral glaciers shone,  And from his lips escaped a groan,  Excelsior!

The last line gives him away still more completely. He is groaning now, where a moment before he was clarioning. A bit later, with one of those shifts characteristic of the mentally unbalanced, his mood changes and again he is shouting. He's worse than a cuckoo clock, that boy.

  "Try not the Pass," the old man said;  "Dark lowers the tempest overhead,  The roaring torrent is deep and wide!"  And loud that clarion voice replied,  Excelsior!  "Oh stay," the maiden said, "and rest  Thy weary head upon this breast!"  A tear stood in his bright blue eye,  But still he answered, with a sigh,  Excelsior!  "Beware the pine-tree's withered branch!  Beware the awful avalanche!"  This was the peasant's last Good night;  A voice replied, far up the height,  Excelsior!

These three verses round out the picture. The venerable citizen warns him against the Pass; pass privileges up that mountain have all been suspended. A kind-hearted maiden tenders hospitalities of a most generous nature, considering that she never saw the young man before. Some people might even go so far as to say that she should have been ashamed of herself; others, that Mr. Longfellow, in giving her away, was guilty of an indelicacy, to say the least of it. Possibly she was practicing up to qualify for membership on the reception committee the next time the visiting firemen came to her town or when there was going to be an Elks' reunion; so I for one shall not question her motives. She was hospitable—let it go at that. The peasant couples with his good-night message a reference to the danger of falling pine wood and also avalanches, which have never been pleasant things to meet up with when one is traveling on a mountain in an opposite direction.

All about him firelights are gleaming, happy families are gathered before the hearthstone, and through the windows the evening yodel may be heard percolating pleasantly. There is every inducement for the youth to drop in and rest his poor, tired, foolish face and hands and thaw out his knee joints and give the maiden a chance to make good on that proposition of hers. But no, high up above timber line he has an engagement with himself and Mr. Longfellow to be frozen as stiff as a dried herring; and so, now groaning, now with his eye flashing, now with a tear—undoubtedly a frozen tear—standing in the eye, now clarioning, now sighing, onward and upward he goes:

  At break of day, as heavenward  The pious monks of Saint Bernard  Uttered the oft-repeated prayer,  A voice cried through the startled air,  Excelsior!

I'll say this much for him: He certainly is hard to kill. He can stay out all night in those clothes, with the thermometer below zero, and at dawn still be able to chirp the only word that is left in his vocabulary. He can't last forever though. There has to be a finish to this lamentable fiasco sometime. We get it:

  A traveler, by the faithful hound,  Half buried in the snow was found,  Still grasping in his hand of ice  That banner with the strange device,  Excelsior!  There in the twilight cold and gray,  Lifeless, but beautiful, he lay,  And from the sky serene and far,  A voice fell, like a falling star,  Excelsior!

The meteoric voice said "Excelsior!" It should have said "Bonehead!" It would have said it, too, if Ned Buntline had been handling the subject, for he had a sense of verities, had Ned. Probably that was one of the reasons why they barred his works out of all the schoolbooks.

With the passage of years I rather imagine that Lieutenant G–, of the United States Navy, who went to so much trouble and took so many needless pains in order to become a corpse may have vanished from the school readers. I admit I failed to find him in any of the modern editions through which I glanced, but I am able to report, as a result of my researches, that the well-known croupe specialist, Young Lochinvar, is still there and so likewise is Casabianca, the total loss; and as I said before, I ran across Excelsior three times.

Just here the other day, when I was preparing the material for this little book, I happened upon an advertisement in a New York paper of an auction sale of a collection of so-called dime novels, dating back to the old Beadle's Boy's Library in the early eighties and coming on down through the years into the generation when Nick and Old Cap were succeeding some of the earlier favorites. I read off a few of the leading titles upon the list:

Bronze Jack, the California Thoroughbred; or, The Lost City of the Basaltic Buttes. A strange story of a desperate adventure after fortune in the weird, wild Apache land. By Albert W. Aiken.

Tombstone Dick, the Train Pilot; or, The Traitor's Trail. A story of the Arizona Wilds. By Ned Buntline.

The Tarantula of Taos; or, Giant George's Revenge. A tale of Sardine-box City, Arizona. By Major Sam S. (Buckskin Sam) Hall.

Redtop Rube, the Vigilante Prince; or, The Black Regulators of Arizona. By Major E. L. St. Vrain.

Old Grizzly Adams, the Bear Tamer; or, The Monarch of the Mountains.

Deadly Eye and the Prairie Rover.

Arizona Joe, the Boy Pard of Texas Jack.

Pacific Pete, the Prince of the Revolver.

Kit Carson, King of the Guides.

Leadville Nick, the Boy Sport; or, The Mad Miner's Revenge.

Lighthouse Lige; or, The Firebrand of the Everglades.

The Desperate Dozen; or, The Fair Fiend.

Nighthawk Kit; or, The Daughter of the Ranch.

Joaquin, the Saddle King.

Mustang Sam, the Wild Rider of the Plains.

Adventures of Wild Bill, the Pistol Prince, from Youth to his Death by Assassination. Deeds of Daring, Adventure and Thrilling Incidents in the Life of J. B. Hickok, known to the World as Wild Bill.

These titles and many another did I read, and reading them my mind slid back along a groove in my brain to a certain stable loft in a certain Kentucky town, and I said to myself that if I had a boy—say, about twelve or fourteen years old—I would go to this auction and bid in these books and I would back them up and reenforce them with some of the best of the collected works of Nick Carter and Cap Collier and Nick Carter, Jr., and Frank Reade, and I would buy, if I could find it anywhere, a certain paper-backed volume dealing with the life of the James boys—not Henry and William, but Jesse and Frank—which I read ever so long ago; and I would confer the whole lot of them upon that offspring of mine and I would say to him:

"Here, my son, is something for you; a rare and precious gift. Read these volumes openly. Never mind the crude style in which most of them are written. It can't be any worse than the stilted and artificial style in which your school reader is written; and, anyhow, if you are ever going to be a writer, style is a thing which you laboriously must learn, and then having acquired added wisdom you will forget part of it and chuck the rest of it out of the window and acquire a style of your own, which merely is another way of saying that if you have good taste to start with you will have what is called style in writing, and if you haven't that sense of good taste you won't have a style and nothing can give it to you.

"Read them for the thrills that are in them. Read them, remembering that if this country had not had a pioneer breed of Buckskin Sams and Deadwood Dicks we should have had no native school of dime novelists. Read them for their brisk and stirring movement; for the spirit of outdoor adventure and life which crowds them; for their swift but logical processions of sequences; for the phases of pioneer Americanism they rawly but graphically portray, and for their moral values. Read them along with your Coopers and your Ivanhoe and your Mayne Reids. Read them through, and perhaps some day, if fortune is kinder to you than ever it was to your father, with a background behind you and a vision before you, you may be inspired to sit down and write a dime novel of your own almost good enough to be worthy of mention in the same breath with the two greatest adventure stories—dollar-sized dime novels is what they really are—that ever were written; written, both of them, by sure-enough writing men, who, I'm sure, must have based their moods and their modes upon the memories of the dime novels which they, they in their turn, read when they were boys of your age.

"I refer, my son, to a book called Huckleberry Finn, and to a book called Treasure Island."