This is the letter which Swinnerton Loughburne received over the signature of Doctor Randall Byrne. It was such a strange letter that between paragraphs Swinnerton Loughburne paced up and down his Gramercy Park studio and stared, baffled, at the heights of the Metropolitan1 Tower.
"Dear Swinnerton,
"I'll be with you in good old Manhattan about as soon as you get this letter. I'm sending this ahead because I want you to do me a favour. If I have to go back to those bare, blank rooms of mine with the smell of chemicals drifting in from the laboratory, I'll—get drunk. That's all!"
Here Swinnerton Loughburne lowered the letter to his knees and grasped his head in both hands. Next he turned to the end of the letter and made sure that the signature was "Randall Byrne." He stared again at the handwriting. It was not the usual script of the young doctor. It was bolder, freer, and twice as large as usual; there was a total lack of regard for the amount of stationery2 consumed.
Shaking his head in bewilderment, Swinnerton Loughburne shook his fine grey head and read on: "What I want you to do, is to stir about and find me a new apartment. Mind you, I don't want the loft3 of some infernal Arcade4 building in the Sixties. Get me a place somewhere between Thirtieth and Fifty-eighth. Two bed-rooms. I want a place to put some of the boys when they drop around my way. And at least one servant's room. Also at least one large room where I can stir about and wave my arms without hitting the chandelier. Are you with me?"
Here Swinnerton Loughburne seized his head between both hands again and groaned5: "Dementia! Plain and simple dementia! And at his age, poor boy!"
He continued: "Find an interior decorator. Not one of these fuzzy haired women-in-pants, but a he-man who knows what a he-man needs. Tell him I want that place furnished regardless of expense. I want some deep chairs that will hit me under the knees. I want some pictures on the wall—but nothing out of the Eighteenth Century—no impressionistic landscapes—no girls dolled up in fluffy6 stuff. I want some pictures I can enjoy, even if my maiden7 aunt can't. There you are. Tell him to go ahead on those lines.
"In a word, Swinnerton, old top, I want to live. For about thirty years I've thought, and now I know that there's nothing in it. All the thinking in the world won't make one more blade of grass grow; put one extra pound on the ribs8 of a long-horn; and in a word, thinking is the bunk9, pure and simple!"
At this point Swinnerton Loughburne staggered to the window, threw it open, and leaned out into the cold night. After a time he had strength enough to return to his chair and read through the rest of the epistle without interruption.
"You wonder how I've reached the new viewpoint? Simply by seeing some concentrated life here at the Cumberland ranch10. My theories are blasted and knocked in the head—praise God!—and I've brushed a million cobwebs out of my brain. Chemistry? Rot! There's another sort of chemistry that works on the inside of a man. That's what I want to study. There are three great preliminary essentials to the study:
1st: How to box with a man. 2nd: How to talk with a girl. 3rd: How to drink old wine.
Try the three, Swinnerton; they aren't half bad. At first they may give you a sore jaw11, an aching heart, and a spinning head, but in the end they teach you how to keep your feet and fight!
"This is how my eyes were opened.
"When I came out to this ranch it was hard for me to ride a horse. So I've been studying how it should be done. Among other things, you should keep your toes turned in, you know. And there are many other things to learn.
"When I had mastered them one by one I went out the other day and asked to have a horse saddled. It was done, and a lantern-jawed cowpuncher brought out a piebald gelding with long ears and sleepy eyes. Not a lovely beast, but a mild one. So I went into the saddle according to theory—with some slight hesitations12 here and there, planted my feet in the stirrups, and told the lantern-jawed fellow to turn loose the head of the piebald. This was done. I shook the reins13. The horse did not move. I called to the brute14 by name. One ear wagged back to listen to me.
"I kicked the beast in the ribs. Unfortunately I had forgotten that long spurs were on my heels. The horse was instantly aware of that fact, however. He leaped into a full gallop15. A very jolty16 process. Then he stopped—but I kept on going. A fence was in the way, so I was halted. Afterwards the lantern-jawed man picked me up and offered to carry me back to the house or at least get a wheelbarrow for me. I refused with some dignity. I remarked that I preferred walking, really, and so I started out across the hills and away from the house. My head was sore; so were my shoulders where I hit the fence; I began to think of the joy of facing that horse again, armed with a club.
"It was evening—after supper, you see—and the light of the moon was already brighter than the sunlight. And by the time I had crossed the first range of hills, it was quite dark. As I walked I brooded upon many things. There were enough to disturb me.
"There was old Joe Cumberland, at death's door and beyond the reach of my knowledge; and he had been taken away from death by the wild man, Dan Barry. There was the girl with the bright hair—Kate Cumberland. In education, nothing; in brain, nothing; in experience, nothing; and yet I was attracted. But she was not attracted in the least until along came the wild man again, and then she fell into his arms—actually fought for him! Why? I could not tell. My name and the things I have done and even my money, meant nothing to her. But when he came it was only a glance, a word, a smile, and she was in his arms. I felt like Caligula. I wished the world had only one neck, and I an axe17. But why should I have felt depressed18 because of failures in the eyes of these silly yokels19? Not one of them could read the simplest chemical formula!
"All very absurd, you will agree, and you may get some inkling as to my state of mind while I walked over those same dark hills. I seemed a part of that darkness. I looked up to the stars. They were merely like the pages of a book. I named them off hand, one after the other, and thought of their characteristics, their distances, their composition, and meditated20 on the marvels21 the spectrum22 has made known to us. But no sooner did such a train of thoughts start in my brain, than I again recurred23 to the girl, Kate Cumberland, and all I was aware of was a pain at heart—something like homesickness. Very strange.
"She and the man are together constantly. The other day I was in Joseph Cumberland's room and we heard whistling outside. The face of the old man lighted, 'They are together again,' he said. 'How do you guess at that?' I asked. 'By the sound of his whistling,' he answered. 'For he whistles as if he expected an answer—as if he were talking with someone.' And by the Lord, the old man was right. It would never have occurred to me!
"Now as I started down the farther slope of a hill a whistling sound ran upon me through the wind, and looking back I saw a horseman galloping24 with great swiftness along the line of the crest25, very plainly outlined by the sky, and by something of smoothness in the running of the horse I knew that it was Barry and his black stallion. But the whistling—the music! Dear God, man, have you read of the pipes of Pan? That night I heard them and it made a riot in my heart.
"He was gone, suddenly, and the whistling went out like a light, but something had happened inside me—the first beginning of this process of internal change. The ground no longer seemed so dark. There were earth smells—very friendly—I heard some little creature chirruping contentedly27 to itself. Something hummed—a grasshopper28, perhaps. And then I looked up to the stars. There was not a name I could think of—I forgot them all, and for the first time I was contented26 to look at them and wonder at their beauty without an attempt at analysis or labelling.
"If I say that I went back to the ranch-house with my feet on the ground and by heart up there among the stars, will you understand?
"I found the girl sewing in front of the fire in the living room. Simply looked up to me with a smile, and a certain dimness about the eyes—well, my breath stopped.
"'Kate,' said I, 'I am going away to-morrow morning!'
"'And leave Dad?' said she.
"'To tell you the truth,' I answered, 'there is nothing I can do for him. There has never been anything I could do for him.'
"'I am sorry,' said she, and lifted up her eyes to me.
"Now, I had begun by being stiff with her, but the ringing of that whistling—pipes of Pan, you know—was in my ears. I took a chair beside her. Something overflowed29 in my heart. For the first time in whole days I could look on her beauty without pain.
"'Do you know why I'm going?' I asked.
"She waited.
"'Because,' said I, and smiled right into her face, 'I love you, Kate, most infernally; and I know perfectly30 well that I will get never the devil a bit of good out of it.'
"She peered at me. 'You aren't jesting?' says she. 'No, you're serious.
I'm very sorry, Doctor Byrne.'
"'And I,' I answered, 'am glad. I wouldn't change it for the world. For once in my life—to-night—I've forgotten myself. No, I won't go away and nurse a broken heart, but I'll think of you as a man should think of something bright and above him. You'll keep my heart warm, Kate, till I'm a very old man. Because of you, I'll be able to love some other girl—and a fine one, by the Lord!'
"Something in the nature of an outburst, eh? But it was the music which had done it. All the time it rang and echoed through my ears. My words were only an echo of it. I was in tune31 with the universe. I was living for the first time. The girl dropped her sewing—tossed it aside. She came over to me and took my hands in a way that would have warmed even the icicles of your heart, Swinnerton.
"'Doctor,' says she, 'I know that you are going to be very happy.'
"'Happiness,' said I, 'is a trick, like riding a horse. And I think that
I've learned the trick. I've caught it from you and from Barry.'
"At that, she let go my hands and stepped back. The very devil is in these women, Swinnerton. You never can place them for a minute at a time.
"'I am trying to learn myself,' she said, and there was a shadow of wistfulness in her eyes.
"In another moment I should have made a complete fool of myself, but I remembered in time and got out of the room. To-morrow I start back for the old world but I warn you beforehand, my dear fellow, that I'm bringing something of the new world with me.
"What has it all brought to me? I am sad one day and gay the next. But at least I know that thinking is not life and now I'm ready to fight.
"Randall Byrne."
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1
metropolitan
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| adj.大城市的，大都会的 | |
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2
stationery
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| n.文具；(配套的)信笺信封 | |
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3
loft
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| n.阁楼，顶楼 | |
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4
arcade
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| n.拱廊；(一侧或两侧有商店的)通道 | |
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5
groaned
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| v.呻吟( groan的过去式和过去分词 )；发牢骚；抱怨；受苦 | |
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6
fluffy
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| adj.有绒毛的，空洞的 | |
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7
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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8
ribs
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| n.肋骨( rib的名词复数 )；（船或屋顶等的）肋拱；肋骨状的东西；（织物的）凸条花纹 | |
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9
bunk
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| n.(车、船等倚壁而设的)铺位；废话 | |
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10
ranch
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| n.大牧场，大农场 | |
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11
jaw
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| n.颚，颌，说教，流言蜚语；v.喋喋不休，教训 | |
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12
hesitations
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| n.犹豫( hesitation的名词复数 )；踌躇；犹豫（之事或行为）；口吃 | |
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13
reins
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| 感情，激情； 缰( rein的名词复数 )； 控制手段； 掌管； （成人带着幼儿走路以防其走失时用的）保护带 | |
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14
brute
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| n.野兽，兽性 | |
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15
gallop
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| v./n.(马或骑马等)飞奔；飞速发展 | |
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16
jolty
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| 摇动的，颠簸的 | |
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17
axe
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| n.斧子；v.用斧头砍，削减 | |
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18
depressed
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| adj.沮丧的，抑郁的，不景气的，萧条的 | |
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19
yokels
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| n.乡下佬，土包子( yokel的名词复数 ) | |
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20
meditated
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| 深思，沉思，冥想( meditate的过去式和过去分词 )； 内心策划，考虑 | |
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21
marvels
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| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
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22
spectrum
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| n.谱，光谱，频谱；范围，幅度，系列 | |
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23
recurred
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| 再发生，复发( recur的过去式和过去分词 )； 治愈 | |
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24
galloping
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| adj. 飞驰的, 急性的 动词gallop的现在分词形式 | |
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25
crest
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| n.顶点；饰章；羽冠；vt.达到顶点；vi.形成浪尖 | |
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26
contented
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| adj.满意的，安心的，知足的 | |
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27
contentedly
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| adv.心满意足地 | |
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28
grasshopper
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| n.蚱蜢，蝗虫，蚂蚱 | |
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29
overflowed
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| 溢出的 | |
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30
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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31
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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