The San Francisco Call. Newspaper, November 6, 1904, Page 6

THE SAN FRANCISCO SUNDAY CALL. N a hot day, suh,” observed Colonel Bunker, as he re- placed his glass with gne hand and wiped his mouth with the other, “on a dey when the thermometer marks 98 degrees in the shade, 2 mint julep goes right to the #pot, suh, as nothing else will. It is fortunate for America that she grows mint. I have sometimes thought that she owes her greatness to it. Wher- ever you find mint you find patriot- tem “As to my duel with Judge Harper, sub, it came about because of a poem —the only one I ever wrote. I had lectured several times on the battle of Lookout Mountain, when my old friend Colonel Ross suggested that I write a poem on the same subject. I gave the matter some thought and then began the work. It was to be something to live for a thousand years, and I took it slow and wrote only when T felt like it. T was writ- ing off and on all winter and I finally completed the task. There were 120 four-iine verses, suh, and every line was a picture by itself. That poem breathed romance, courage, love, bat- tle, patriotism—all that is bravest and best in man. It deserved to go down to future generations in letters of gold, and I may say without egotism thet its loss, by accident, was almost a mational calamit “When I had finished the poem— when the last line of the glorious trib- ute to my comrades in the wah had been written, suh, I took the train and went down to Catsville to read the whole to my dear old friend Judge Harper. He knew I had been at work, ape he hea irn me encouraging 13 - CoLoNEL BUNKER HE TELLS OF A POEM ANL words. The Judge asked me to his house, and after we had partaken of a cocktail or two, I started in to read the poem. To my intense surprise, I had not yet finished the first verse when the Judge made a criticism. I had made ‘attribute’ rhyme with ‘distribute,’ which is perfectly poetical, but the Judge thought different. In the second verse he suggested three changes; in the third verse four, and in the fourth verse he clalmed to find false syntax, bad rhyme and something like sacri- lege. Four verses were all I read. “‘Go ahead, Jim,' says the Colonel as I stopped. “‘I have finished, suh,’ I stiffly re- plied ut there are 116 more verses.’ “ “They are not for you, Judge Har- per. You may know all about law, but I'm suah you know nothing about poetry.’ ““Colonel,’ said the Judge, ‘I'm dis- appointed in you as a poet, but that needn’t break our friendship. You are a soldier and a statesman, and we'll let it go at that’ “But I couldn't” exclaimed the colonel. “His unjust criticism rankled, and I found myself growing cold to- ward him. I bade him an iey good-day and returned home, and it is just pos- sible that I might have forgiven him had I heard no more of the poem through him. A week later he was talking publicly about it and saying that it was the lamest thing he ever heard. In brief, suh, the Judge strong- ly intimated that I was a moonstruck ass for wasting time on a poem instead of attending to my garden. When his words were repeated to me I took the train and was soon at his office. “ ‘Mawnin’, Jim,' he said as I ap- peared. “ ‘Mawnin’, suh,’ I replied. ny mp' poems? o, suh. I have turned to some- thing else, suh.’ ““ ‘Gwine into hawgs? “‘No—into duels. Judge Harper, my errand heah to-day is to challenge you to meet me on the field of honah.’ ““‘But for the land's sake, why? You and I have been friends for the last ten years—the best of friends. Don't get no wheels into your head, Jim." “‘Suh, you criticized my poem and called me an ass, and if you refuse my challenge I shall publicly insult you. Send your friend to Majah Gordon.' “The Judge wouldn't believe for sonfe time that I was in earnest, but when he realized that I was, he showed his gameness. He accepted the challenge and named pistols, and ‘" we were to met in two days. The coming duel aroused the wildest ex- citement, but it didn't come off. I caught my forefinger in the doah and badly injured it, and for the first time in my life I had to ask a postpone- ment of 2 duel. We put it off for a week, but the day befo’ it was to take place the Judge fell over a dog on the sidewalk and hurt his back:. He of- ferea to go to the field and be tied upright to a tree while he fired, but, of course, that would have been ridic- ulous. I granted him a week in which tc get well, and then another queer thing happened. A boy on the street threw a stone and injured my eye, and the Judge insisted on my taking two weeks to get well in. I offered to fight that duel blindfolded, but he wouldn't hear of it. “The two weeks were up within two days, and 1 was indulging in target practice, when the Judge was taken down with the mumps. Yes, suh, a regular case of the mumps, and mighty bad at that, He was willing to meet me with his jaws tied up in a clean rag, but I wasn't bloodthirsty enough to insist. The duel had to be poustponed for three weeks, and after the first week had expired the Judge telegraphed me to come over and bring the poem. I went, and as we shook hands he said: “‘Jim, I want to hear that poem again. Maybe I did you injustice. “‘Suh, do you want to insult me a second time?’ I demanded. “ ‘Not at all. Perhaps I was off that day and couldn’t appreciate poetry.” “I finally decided to meet him half way and went ahead and read five verses. Then he stopped me and fainted away jest like a woman, and when he recovered he had the cheek to tell me that was all o to my poetry. It was then, suh—It was then that I determined not to spare his life, and that the duel must be fought at the date named. even if we were both carried to the ground on stretchers. “Nothing occurred to call for fur- ther postponement. ‘When the day dawned I set out for the spot selected, intending to be first on the ground. That has always been my practice, suh. Being first on the ground has a great moral influence on your oppo- nent. He attributes an irtensity of determination to you that shakes his nerve. In climbing a fence I got a fall, and in crosslng a fleld I was @ | NATIONAL chased by a bu I was with f selected when a drove of the poem in m it fell out, one of thos devoured it conditien was tota chased by a I have he (Copyright, 1904, by T. C. McClure.) AP R e P D B DR BRGNS0 O ANCES | ANCING is said to have orig- inated under the skies of the Pharaohs; it manifested itself at first in sacred and hieratic: in the Apis. In the course of ages it became in- terwoven with all the expressions of popular life, reflecting the passions of man and translating the most secret movements of the soul into physical action. From the solemnity of reli- gious rites, from the fury of warfare, it passed to the gayety of pastoral he dignity and grace of pol- ety. As early as the year 2545 B. C. we find traces of the choregraphic art; no antique race gave themselves up so eagerly to it as the Greeks; gait, movements, even immobility, were alike subject to its laws. This art was so esteemed in Greece that chorus masters or leaders were recruited among the first citizens of the com- monwealth. Their dances were very numerous and all derived from three fundamental types, the sacred, the military and the profane. .In the Hormos, a sacred d=1ce in honor of Diana, all the youth of the two sexes performed it unclothed, but without offense to modesty, their attitudes be- ing chaste and beautiful. Such was not the case in regard to profane dances, which were often marred by buffoonery and even by indecency. Ritual dances were highly honored by the Hebrews; David danced before the ark of the covenant in the choir of the temple at Jerusalem; the Levites sang as they danced to the sound of stringed and wind instruments. We have also many other instances of public ceremonies, such as when Da- vid has slain Goliath, and Judith bringing back the head of Holofernes; they were all welcomed by dances. The arts of Greece soon degenerated after their migration to Rome; after centuries of folly, which brought the downfall of the great race, -dancing disappeared; it is, however, to be traced again during the persecutions of the early church, among the first Christians. In the Church of St. Pan- cras at Rome there still exists a sort of stage on which we are told priests and worshipers joined in measures, led by the bishop. The Council of Trent was concluded with a ball of cardinals and bishops; but at last a papal decree abolished it in churches and cemeteries. National dances are generally a typ- ical expression of the race or epoch, from which they originated. The beurree of Poitou' and Auvergne in France is looked upon as a heavy dance, somewhat cearse; the stamping of sabots or wooden shoes is a char- acteristic accompaniment, marking every third beat of the measure; it is grave, and well becomes these rude peasants. The modern wild cancan needs no description, being well known, All Spain, indeed, thrills to the notes of the fandango, pre-eminently the natienal air, and one that accompanies a step so ardent and so graceful. Men and women, young and old, acknowl- edge its power over the soul of every Spaniard. The young men spring to their places, rattling castanets; the girls are rernarkable for the willowy lan- guor and lightness of their move- ments, beating the exactest time with tapping heels. Partners tease and en- treat and pursue each other by tu suddenly the music steps! and each dancer shows his skill by remaining absolutely motionless, bounding again into the full life of the fandango as the orchestra strikes up the measure to triple time, Intoxicating and seduc- tive. Let us pass to the azure Italy, where we find the tarantella, which owes its name to the great spider, whose bite was supposed to be cured only by dancing to the point of exhaustion. One hears at the dusk of day the tambourine, with its small bells, and the castanets. It is the tar- antella! At first rather grave; the part- ners bow to each other, moving apart to meet again. While the tambourine accelerates its rhythm, the dancers fol- lowing it gradually, at first swift, then quicker and ending In a frenzy, as if all were delirlous from the insect's sting—this whirling is sometimes kept up for hours, until the performers stop from sheer exhaustion. Very different iz the “killie-kallum” or “chillie-cul- lum” of the Scots, who, as all old hardy races, delighted in dances of a warlike character, such as the sword dance. It i{s aiways a part of their holidays and merry making. The evolutions are complicated and require activity, agil- ity of finished description and a keen ear for time and metrical proportion, besides the graceful flinging over and around a brace of claymores, crossed on the ground, without touching or dis- placing them. Loud exclamations, war- like howls, waving of arms and crack- severe of sciences, processions skies of ing of fingers are the accompaniments by which the dancer stimulates his own exertions.to the fierce skirling of pipes. It is to Ireland we must go for the jig in all its vivacious activity, the Irish race. p essing a natural taste for both mu and dancing. The lively jig has a marvelous influence over the i Celtic temperament which 1no alien dance could in any way replace for them?® rong a hold upon among the pe the numerous irs groups of youths will always be met with, merrily foot- ing it to the “breakdow * accompanied with many st flourishing of cross over to the extremity of BEurope—the turns and turns to a slow air »ulaleica, on the flat of the foot, shoulders, arms and hips y. He thumps the ground with ery slowly, then with g speed, with his hands on s and his chest erect. This done, a cup of scalding tea and be- gins again, but no longer alone. A partner presents herself and, without touching each other, the two perform a pantomime. the motif of which is the eternal theme of coquetry. The girl is coy and the lover pursues her; she throws down a flower, he picks it up and strives to catch her. It is only in the Russian army that choirs exist. At the head of each regiment is a squad of the best singers, who while away the hours of marching by popular songs that make the men forget their fa- tigue. ‘We now turn from Europe to the land of the Erahmins. When an Asfatic wishes to honor a guest, she shows him his Davadassi (Bayaderes is the name only used by Europeans); it is the com- pliment of his hospitality. Thelr cold, plastic beauty harmonizes admirably with their dancing, which consists of a succession of statuesque poses. A sort of quivering motion of their naked feet causes a jingling of the golden rings and bells with which their legs are laden, and this metallic cadenced sound at last produces a curious effect upon the ear and the nerves. The Egyptian and Tunisian Almees differ greatly from the Bayaderes, for the very essence of their dances is ob- jectionable. -In Java the Tandak are born in the fortress of the Sultan; these virgins lead a very retired life, and from theirs birth and situation at the court are held in profound respect. The genesis of the cakewalk, like a famous birth, is “wrapt in mystery,” and like many other good things it comes from the Unjted States. The “walk” and the barn dance, beyond all question, have their origin in the plantation sports; the latter took place in the barn at the end of the harvest, accompanied by banjos and “patting juba,” for the special enjoyment of the slaves working in the flelds; while the prize walk was among the household servants, who rather looked contemptu- ously on their rustic brothers. The handsomest couples paired off, and be- ing dressed in their best they entered into the competition. A French paper describes in the following amusing way the “cakewalk”: “How to deflne this dance for which no rules exist? It is the triumph of personal improvisation; its characteristic step reminds us of a poodle being forced to stand onm its hind legs; the dancer advancing by little hops and leaps, holding his hands exactly as the dog would {ts front paws, curving his back in the most ex- aggerated fashion possible.” Among the North Americans of yes- terday (we mean the aborigine In- dians) the custom of dancing was very prominent in their social usages. The Irequols tribe alone had thirty-two dis- tinct dances, of which the Buffalo, the Feather, the Sun and War, were es- teemed the highest. Unfortunately the native races and their ceremonies will soon be a thing of the past. One dance, however, still occurs, and can be seen in all its glory and perfection, once every two years; it is the weird Snake danée of the Moquis. The snakes used in these heathen rites are caught eight days before. The young Indians g0 to the north, the west, the south and east. ~After being captured the snakes are kept concealed. The head medi- cine men alone know the secrets which keep the reptiles from biting, and the remedies to use in case of bites. On the appointed day the procession be- gins and one is at once bewildered and horrified at the long column of weird figures, marching two by two, holding slimy, wriggling snakes between their ‘teeth! The head of the reptile is held toward the right, the object of this being very manifest, as on that side marches another column of In- dians, holding eagle feather wands in their hands with which they tickle the heads and jaws of the snakes, thus distracting their attention from those in whose teeth they are grasped so firmly. The actors have their faces painted black from brow to upper lip, where ghastly white begins and “continues over chin and neck. 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