Bill Nye's Chestnuts Old and New

Along the dreary pathway of this cloud-environed life of ours there is no joy so pure, no triumph so complete, no success so fraught with rapture, as that of the female artiste who hangs on the flying trapeze by her chilblain and kisses her hand to the perspiring throng.

CHESTNUT-BURR XLV – FUN OF BEING A PUBLISHER

Being a publisher is not all sunshine, joy and johnny-jump-ups, although the gentle and tractable reader may at times think so.

A letter was received two years ago by the publishers of this book, on the outside of which was the request to the "P. Master of Chicago to give to the most reliable man in Chicago and oblige."

The P. Master thereupon gave the letter to Messrs. Belford, Clarke & Co., who have sent it to me as a literary curiosity. I want it to go down to posterity, so I put it in this great work. I simply change the names, and where words are too obscure, doctor them up a little:

Butler, Bates county, Mo., Jan., 1886.

I have a novle fresh and pure from the pen, wich i would like to be examined by you. I wish to bring it before the public the ensuing summer. I have wrote a good deal for the press, and always with great success. I wrote once an article on the growth of pie plant wich was copied fur and wide. You may have heard of me through my poem on "The Cold, Damp Sea or the Murmuring Wave and its Sad Kerplunk."

I dashed it off one summer day for the Scabtown Herald.

In it, I enter the fair field of fancy and with exquisite word painting, I lead the reader on and on until he forgets that breakfast is ready, and follows the thrilling career of Algonquin and his own fair-haired Sciatica through page after page of delirious joy and poetic rithum.

In this novle I have wove a woof of possibilities criss-crossed with pictures of my own wild, unfettered fancy, which makes it a work at once truthful and yet sufficiently unnatural to make it egorly sot for by the great reading world.

The plot of the novle is this:

Algonquin is a poor artist, who paints lovely sunsets and things, nights, and cuts cordwood during the day, struggling to win a competence so that he can sue for the hand of Sciatica, the wealthy daughter of a plumber.

She does not love him much, and treats him coldly; but he perseveres till one of his exquisite pictures is egorly snapt up by a wealthy man at $2. The man afterwards turns out to be Sciatica's pa.

He says unkind things of Algonquin, and intimates that he is a better artist in four-foot wood than he is as a sunset man. He says that Algonquin is more of a Michael Angelo in basswood than anywhere else, and puts a wet blanket on Sciataca's love for Algonquin.

Then Sciataca grows colder than ever to Algonquin, and engages herself to a wealthy journalist.

Just as the wedding is about to take place, Algonquin finds that he is by birth an Ohio man. Sciataca repents and marries her first love. He secures the appointment of governor of Wyoming, and they remove to Cheyenne.

Then there are many little oursts of pictureskness and other things that I would like to see in print.

I send also a picture of myself which I would like to have in the book. Tell the artist to tone down the freckles so that the features may be seen by the observer and put on a diamond pin so that it will have an appearance of wealth, which the author of a book generally wears.

It is not wrote very good, but that won't make any difference when it is in print.

When the reading public begins to devour it, and the scads come rolling in, you can deduct enough for to pay your expenses of printing and pressing, and send me the balance by postoffice money order. Please get it on the market as soon as possible, as I need a Swiss muzzlin and some other togs suitable to my position in liturary circles. Yours truly,

Luella Blinker.

A LESSON FROM THE MULE

We may often learn a valuable lesson from the stubborn mule, and guard against the too protuberant use of our own ideas in opposition to other powers against which it is useless to contend. It may be wrong for giant powder to blow the top of a man's head off without cause, but repeated contests have proved that even when giant powder is in the wrong, it is eventually victorious.

CHESTNUT-BURR XLVI – PERFORMANCE OF THE PHOENIX

At the performance of "The Phoenix" here, the other night, there was a very affecting place where the play is transferred very quickly from a street scene to the elegant apartments of Mr. Blackburn, the heavy villain. The street scene had to be raised out of the way, and the effect of the transition was somewhat marred by the reluctance of the scenery in rolling up out of the way. It got about half way up, and stopped there in an undecided manner, which annoyed the heavy villain a good deal. He started to make some blood-curdling remarks about Mr. Bludsoe, and had got pretty well warmed up when the scenery came down with a bang on the stage.

The artist who pulls up the curtain and fills the hall lamps, then pulled the scene up so as to show the villain's feet for fifteen or twenty minutes, but he couldn't get it any farther. It seemed that the clothes line, by which the elaborate scenery is operated, got tangled up some way, and this caused the delay. After that another effort was made, and this time the street scene rolled up to about the third story of a brick hotel shown in the foreground, and stopped there, while the clarionet and first violin continued a kind of sad tremulo. Then a dark hand, with a wart on one finger and an oriental dollar store ring on another, came out from behind the wings and began to wind the clothes-line carefully around the pole at the foot of the scene. The villain then proceeded with his soliloquy, while the street scene hung by one corner in such a way as to make a large warehouse on the corner of the street stand at an angle of about forty-five degrees.

Laramie will never feel perfectly happy until these little hitches are dispensed with. Supposing that at some place in the play, where the heroine is speaking soft and low to her lover and the proper moment has arrived for her to pillow her sunny head upon his bosom, that street scene should fetch loose, and come down with such momentum as to knock the lovers over into the arms of the bass-viol player. Or suppose that in some death-bed act this same scene, loaded with a telegraph pole at the bottom, should settle down all at once in such a way as to leave the death-bed out on the corner of Monroe and Clark streets, in front of a candy store.

Modern stage mechanism has now reached such a degree of perfection that the stage carpenter does not go up on a step ladder, in the middle of a play, and nail the corner of a scene to a stick of 2x4 scantling, while a duel is going on near the step ladder. In all the larger theaters and opera houses, now, they are not doing that way.

Of course little incidents occur, however, even on the best stages, and where the whole thing works all right. For instance, the other day, a young actor, who was kneeling to a beautiful heiress down East, got a little too far front, and some scenery, which was to come together in the middle of the stage to pianissimo music, shut him outside and divided the tableau in two, leaving the young actor apparently kneeling at the foot of a street lamp, as though he might be hunting for a half a dollar that he had just dropped on the sidewalk.

There was a play in New York, not long ago, in which there was a kind of military parade introduced, and the leader of a file of soldiers had his instructions to march three times around the stage to martial music, and then file off at the left, the whole column, of course, following him. After marching once around, the stage manager was surprised to see the leader deliberately wheel, and walk off the stage, at the left, with the whole battalion following at his heels. The manager went to him and abused him shamefully for his haste, and told him he had a mind to discharge him; but the talented hack driver, who thus acted as the military leader, and who had over-played himself by marching off the stage ahead of time, said:

"Well, confound it, you can discharge me if you want to, but what was a man to do? Would you have me march around three times when my military pants were coming off, and I knew it? Military pride, pomp, parade and circumstance, are all right; but it can be overdone. A military squadron, detachment, or whatever it is, can make more of a parade, under certain circumstances, than is advertised. I didn't want to give people more show than they paid for, and I ask you to put yourself in my place. When a man is paid three dollars a week to play a Roman soldier, would you have him play the Greek slave? No, sir; I guess I know what I'm hired to play, and I'm going to play it. When you want me to play Adam in the Garden of Eden, just give me my fig leaf and salary enough to make it interesting, and I will try and properly interpret the character for you, or refund the money at the door."

FIRMNESS

Firmness is a good thing in its place, but we should early learn that to be firm, we need not stand up against a cyclone till our internal economy is blown into the tops of the neighboring trees. Moral courage is a good thing, but it is useless unless you have a liver to go along with it. Sometimes a man is required to lay down his life for his principles, but the cases where he is expected to lay down his digester on the altar of his belief, are comparatively seldom.

PUGILIST OR STATESMAN

Thousands of our own boys, who to-day are spearing frogs, or bathing in the rivers of their native land and parading on the shingly beach with no clothes on to speak of, are left to chose between such a career of usefulness and greatness of brow, and the humdrum life of a bilious student and pale, sad congressman. Will you rise to the proud pinnacle of fame as a pugilist, boys, or will you plug along as a sorrowing, overworked statesman? Now, in the spring-time of your lives, choose between the two, and abide the consequences.

CHESTNUT-BURR NYE AS A CRITIC AND NYE AS A POET.

POETIC CHESTNUTS

A new and dazzling literary star has risen above the horizon, and is just about to shoot athwart the starry vault of poesy. How wisely are all things ordered, and how promptly does the new star begin to beam, upon the decline of the old.

Hardly had the sweet singer of Michigan commenced to wane and to flicker, when, rising above the western hills, the glad light of the rising star is seen, and adown the canyons and gulches of the Rocky mountains comes the melodious cadences of the poet of the Greeley Eye.

Couched in the rough terms of the West, robed in the untutored language of the Michael Angelo slang of the miner and the cowboy, the poet at first twitters a little on a bough far up the canyon, gradually waking the echoes, until the song is taken up and handed back by every rock and crag along the rugged ramparts of the mighty mountain barrier.

Listen to the opening stanza of "The Dying Cowboy and the Preacher:"

So, old gospel shark, they tell me I must die;
That the wheels of life's wagon have rolled into their last rut,
Well, I will "pass in my checks" without a whimper or a cry,
And die as I have lived – "a hard nut."

This is no time-worn simile, no hackneyed illustration or bald-headed decrepit comparison, but a new, fresh illustration that appeals to the Western character, and lifts the very soul out of the kinks, as it were.

Wheels of life's wagon have rolled into their last rut.

Ah! how true to nature and yet how grand. How broad and sweeping. How melodious and yet how real. None but the true poet would have thought to compare the close of life to the sudden and unfortunate chuck of the off hind wheel of a lumber wagon into a rut.

In fancy we can see it all. We hear the low, sad kerplunk of the wheel, the loud burst of earnest, logical profanity, and then all is still.

Now and then the swish of a mule's tail through the air, or the sigh of the rawhide as it shimmers and hurtles through the silent air, and then a calm falls upon the scene. Anon, the driver bangs the mule that is ostensibly pulling his daylights out, but who is, in fact, humping up like an angle worm, without nulling a pound.

Then the poet comes to the close of the cowboy's career in this style: