I've heard 'em warble in every city in the United States; and I tell you your vocal output don't go. Otherwise, you've got the grand opera bunch sent to the soap factory--in looks, I mean; for the high screechers generally look like Mary Ann on her Thursday out. But nix for the gargle work. Your epiglottis ain't a real side-stepper--its footwork ain't good."
With a merry laugh at Jacks' criticism, Ileen looked inquiringly at me.
I admit that I faltered a little. Was there not such a thing as being too frank? Perhaps I even hedged a little in my verdict; but I stayed with the critics.
"I am not skilled in scientific music, Miss Ileen," I said, "but, frankly, I cannot praise very highly the singing-voice that Nature has given you. It has long been a favorite comparison that a great singer sings like a bird. Well, there are birds and birds. I would say that your voice reminds me of the thrush's--throaty and not strong, nor of much compass or variety--but still--er--sweet--in--er--its--way, and--er--"
"Thank you, Mr. Harris," interrupted Miss Hinkle. "I knew I could depend Upon your frankness and honesty."
And then C. Vincent Vesey drew back one sleeve from his snowy cuff, and the water came down at Lodore.
My memory cannot do justice to his masterly tribute to that priceless, God-given treasure--Miss Hinkle's voice. He raved over it in terms that, if they had been addressed to the morning stars when they sang together, would have made that stellar choir explode in a meteoric shower of flaming self-satisfaction.
He marshalled on his white finger-tips the grand opera stars of all the continents, from Jenny Lind to Emma Abbott, only to depreciate their endowments. He spoke of larynxes, of chest notes, of phrasing, arpeggios, and other strange paraphernalia of the throaty art. He admitted, as though driven to a corner, that Jenny Lind had a note or two in the high register that Miss Hinkle had not yet acquired--but--
"!!!"-that was a mere matter of practice and training.
And, as a peroration, he predicted--solemnly predicted--a career in vocal art for the "coming star of the Southwest--and one of which grand old Texas may well be proud," hitherto unsurpassed in the annals of musical history.
When we left at ten, Ileen gave each of us her usual warm, cordial handshake, entrancing smile, and invitation to call again. I could not see that one was favored above or below another--but three of us knew--we knew.
We knew that frankness and honesty had won, and that the rivals now numbered three instead of four.
Down at the station Jacks brought out a pint bottle of the proper stuff, and we celebrated the downfall of a blatant interloper.
Four days went by without anything happening worthy of recount.
On the fifth, Jacks and I, entering the brush arbor for our supper, saw the Mexican youth, instead of a divinity in a spotless waist and a navy-blue skirt, taking in the dollars through the barbed-wire wicket.
We rushed into the kitchen, meeting Pa Hinkle coming out with two cups of hot coffee in his hands.
"Where's Ileen?" we asked, in recitative.
Pa Hinkle was a kindly man. "Well, gents," said he, "it was a sudden notion she took; but I've got the money, and I let her have her way.
She's gone to a corn--a conservatory in Boston for four years for to have her voice cultivated. Now, excuse me to pass, gents, for this coffee's hot, and my thumbs is tender."
That night there were four instead of three of us sitting on the station platform and swinging our feet. C. Vincent Vesey was one of us. We discussed things while dogs barked at the moon that rose, as big as a five-cent piece or a flour barrel, over the chaparral.
And what we discussed was whether it is better to lie to a woman or to tell her the truth.
And as all of us were young then, we did not come to a decision.
