JOYCE KILMER

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I wonder if there is any other country where the death of a young poet is double-column front-page news?

And if poets were able to proofread their own obits, I wonder if any two lines would have given Joyce Kilmer more honest pride than these:

JOYCE KILMER, POET,IS KILLED IN ACTION

which gave many hearts a pang when they picked up the newspaper last Sunday morning.

Joyce Kilmer died as he lived—“in action.” He found life intensely amusing, unspeakably interesting; his energy was unlimited, his courage stout. He attacked life at all points, rapidly gathered its complexities about him, and the more intricate itbecame the more zestful he found it. Nothing bewildered him, nothing terrified. By the time he was thirty he had attained an almost unique position in literary circles. He lectured on poetry, he interviewed famous men of letters, he was poet, editor, essayist, critic, anthologist. He was endlessly active, full of delightful mirth and a thousand schemes for outwitting the devil of necessity that hunts all brainworkers. Nothing could quench him. He was ready to turn out a poem, an essay, a critical article, a lecture, at a few minutes' notice. He had been along all the pavements of Grub Street, perhaps the most exciting place of breadwinning known to the civilized man. From his beginning as a sales clerk in a New York bookstore (where, so the tale goes, by misreading the price cipher he sold a $150 volume for $1.50) down to the time when he was run over by an Erie train and dictated his weekly article for the New YorkTimesin hospital with three broken ribs, no difficulties or perplexities daunted him.

But beneath this whirling activity which amused and amazed his friends there lay a deeper and quieter vein which was rich in its own passion. It is not becoming to prate of what lies in other men's souls; we all have our secrecies and sanctuaries, rarely acknowledged even to ourselves. But no one can read Joyce Kilmer's poems without grasping his vigorous idealism, his keen sense of beauty, his devout and simple religion, his clutch on thepreciousness of common things. He loved the precarious bustle on Grub Street; he was of that adventurous, buoyant stuff that rejects hum-drum security and a pelfed and padded life. He always insisted that America is the very shrine and fountain of poetry, and this country (which is indeed pathetically eager to take poets to its bosom) stirred his vivid imagination. The romance of the commuter's train and the suburban street, of the delicatessen shop and the circus and the snowman in the yard—these were the familiar themes where he was rich and felicitous. Many a commuter will remember his beautiful poem “The 12:45,” bespeaking the thrill we have all felt in the shabby midnight train that takes us home, yearning and weary, to the well-beloved hearth:

What love commands, the train fulfillsAnd beautiful upon the hillsAre these our feet of burnished steel.Subtly and certainly, I feelThat Glen Rock welcomes us to her.And silent Ridgewood seems to stirAnd smile, because she knows the trainHas brought her children back again.We carry people home—and soGod speeds us, wheresoe'er we go.The midnight train is slow and old,But of it let this thing be told,To its high honour be it said,It carries weary folk to bed.

To a man such as this, whose whole fervent and busy adventure was lit within by the lamplight and firelight of domestic passion, the war, with its broken homes and defiled sanctities, came as a personal affront. Both to his craving for the glamour of such a colossal drama, and to his sense of what was most worshipful in human life, the call was irresistible. Counsels of prudence and comfort were as nothing; the heart-shaking poetry of this nation's entry into an utterly unselfish war burned away all barriers. His life had been a fury of writing, but those who thought he had entered the war merely to make journalism about it were mistaken. Only a few weeks before his death he wrote:

To tell the truth, I am not interested in writing nowadays, except in so far as writing is the expression of something beautiful. And I see daily and nightly the expression of beauty in action instead of words, and I find it more satisfactory. I am a sergeant in the regimental intelligence section—the most fascinating work possible—more thrills in it than in any other branch, except, possibly, aviation. Wonderful life! But I don't know what I'll be able to do in civilian life—unless I become a fireman!

As journalist and lecturer Kilmer was copious and enthusiastic rather than deep. He found—a good deal to his own secret mirth—women's clubs and poetry societies sitting earnestly at his feet, expectant to hear ultimate truth on deep matters.His humour prompted him to give them the ultimate truth they craved. If his critical judgments were not always heavily documented or long pondered, they were entertaining and pleasantly put. The earnest world of literary societies and blue-hosed salons lay about his feet; he flashed in it merrily, chuckling inwardly as he found hundreds of worthy people hanging breathless on his words. A kind of Kilmer cult grew apace; he had his followers and his devotees. I mention these things because he would have been the first to chuckle over them. I do not think he would want to be remembered as having taken all that sort of thing too seriously. It was all a delicious game—part of the grand joke of living. Sometimes, among his friends, he would begin to pontificate in his platform manner. Then he would recall himself, and his characteristic grin would flood his face.

As a journalist, I say, he was copious; but as a poet his song was always prompted by a genuine gush of emotion. “A poet is only a glorified reporter,” he used to say; he took as his favourite assignment the happier precincts of the human heart. As he said of Belloc, a true poet will never write to order—not even to his own order. He sang because he heard life singing all about him. His three little books of poems have always been dear to lovers of honest simplicity. And now their words will be lit henceforward by an inner and tender brightness—thememory of a gallant boy who flung himself finely against the walls of life. Where they breached he broke through and waved his sword laughing. Where they hurled him back he turned away, laughing still.

Kilmer wrote from France, in answer to an inquiry as to his ideas about poetry, “All that poetry can be expected to do is to give pleasure of a noble sort to its readers.” He might have said “pleasure or pain of a noble sort.”

It is both pleasure and pain, of a very noble sort, that the reader will find in Robert Cortes Holliday's memoir, which introduces the two volumes of Kilmer's poems, essays, and letters. The ultimate and eloquent tribute to Kilmer's rich, brave, and jocund personality is that it has raised up so moving a testament of friendship. Mr. Holliday's lively and tender essay is worthy to stand among the great memorials of brotherly affection that have enriched our speech. To say that Kilmer was not a Keats is not to say that the friendship that irradiates Mr. Holliday's memoir was less lovely than that of Keats and Severn, for instance. The beauty of any human intercourse is not measured by the plane on which it moves.

Pleasure and pain of a noble sort are woven in every fibre of this sparkling casting-up of the blitheyears. Pleasure indeed of the fullest, for the chronicle abounds in the surcharged hilarity and affectionate humour that we have grown to expect in any matters connected with Joyce Kilmer. The biographer dwells with loving and smiling particularity on the elvish phases of the young knight-errant. It is by the very likeness of his tender and glowing portrait that we find pleasure overflowing into pain—into a wincing recognition of destiny's unriddled ways with men. This memory was written out of a full heart, with the poignance that lies in every backward human gaze. It is only in the backward look that the landscape's contours lie revealed in their true form and perspective. It is only when we have lost what was most dear that we know fully what it meant. That is Fate's way with us: it cannot be amended.

There will be no need for the most querulous appraiser to find fault with Mr. Holliday on the score of over-eulogy. He does not try to push sound carpentry or ready wit into genius. Fortune and his own impetuous onslaught upon life cast Kilmer into the rôle of hack journalist: he would have claimed no other title. Yet he adorned Grub Street (that most fascinating of all thorny ways) with gestures and music of his own. Out of his glowing and busy brain he drew matter that was never dull, never bitter or petty or slovenly. In the fervent attack and counter-attack, shock and counter-shockof his strenuous days he never forgot his secret loyalty to fine craftsmanship. He kept half a dozen brightly coloured balls spinning in air at all times—verses, essays, reviews, lectures, introductions, interviews, anthologies, and what-not; yet each of these was deftly done. When he went to France and his days of hack work were over, when the necessities of life no longer threatened him, the journalistic habit fell away. It was never more than a garment, worn gracefully, but still only what the tailors call a business suit.

In France, Kilmer wrote but a handful of pieces intended for publication, but at least one of them—the prose sketch “Holy Ireland”—showed his essential fibre. The comparative silence of his pen when he found himself face to face with war was a true expression. It bespoke the decent idealism that underlay the combats of a journalist wringing a living out of the tissues of a busy brain. The tender humour and quaint austerity of his homeward letters exhibit the man at his inmost. What could better the imaginative genius of the phrase in which he speaks of friendship developed by common dangers and hardships as “a fine, hearty, roaring, mirthful sort of thing, like an open fire of whole pine trees in a giant's castle?”

The memoir and Kilmer's own letters admit us to see something of the spiritual phases of this man's life, whose soul found “happiness and quiet kind” inthe Roman Catholic faith. The most secret strengths and weaknesses that govern men's lives are strangely unknown to many of their intimates: one wonders how many of Kilmer's associates on theTimesstaff knew of his habit of stopping daily at the Church of the Holy Innocents, near the newspaper office, to pray. It was the sorrow of personal affliction that brought Kilmer to the Catholic Church. Shortly after being received into that communion he wrote:

Just off Broadway on the way from the Hudson Tube Station to the Times Building, there is a church called the Church of the Holy Innocents. Since it is in the heart of the Tenderloin, this name is strangely appropriate—for there surely is need of youth and innocence. Well, every morning for months I stopped on my way to the office and prayed in this church for faith. When faith did come, it came, I think, by way of my little paralyzed daughter. Her lifeless hands led me; I think her tiny feet still know beautiful paths.

Mr. Holliday does well to point out that Kilmer was almost unique in this country as a representative of the Bellocian School of Catholic journalism, in which piety and mirth dwell so comfortably together; though he might have mentioned T. A. Daly as an older and subtler master of devout merriment, dipping in his own inkwell rather than in any imported bottles. It is to Belloc, of course, and to GilbertChesterton, that one must go to learn the secret of Kilmer's literary manner. Yet, as Holliday affirms, the similarity is due as much to an affinity of mind with these Englishmen as to any eagerness to imitate. Kilmer was like them in being essentially a humorist. One glance at his face, with its glowing red-brown eyes (the colour of port wine), and the twitching in-drawn corners of the mouth, gave the observer an impression of benignant drollery. Mr. Holliday well says: “People have made very creditable reputations as humorists who never wrote anything like as humorous essays as those of Joyce Kilmer. They fairly reek with the joy of life.”

“He that lives by the pen shall perish by the pen,” the biographer tells us, quoting James Huneker. “For a sapling poet, within a few short years and by the hard business of words, to attain to a secretary and a butler and a family of, at length, four children, is a modern Arabian Nights Tale.” Aye, indeed! But Joyce Kilmer will have as genuine a claim on remembrance by reason of his friends' love as in anything his own hand penned. And what an encircling, almost paternal, gentleness there is in the picture of the young poet as a salesman at Scribner's bookstore:

His smile, never far away, when it came was winning, charming. It broke like spring sunshine, it was so fresh and warm and clear. And there wasnoticeable then in his eyes a light, a quiet glow, which marked him as a spirit not to be forgotten. So tenderly boyish was he in effect that his confrères among the book clerks accepted with difficulty the story that he was married. When it was told that he had a son they gasped their incredulity. And when one day this extraordinary elfin sprite remarked that at the time of his honeymoon he had had a beard they felt (I remember) that the world was without power to astonish them further.

And even more striking is what is implied in the narrative: that when this “elfin sprite,” this gently nurtured young man of bookish pursuits, took up the art of war, he gloried in his association with a rip-roaring regiment recruited mainly from hard-handed fellows of the type we may call (with no atom of disrespect) roughnecks. Hardships and exertions familiar to them were new to him, but he set himself to win their love and respect, and did so. He was not content until he had found his way into the most exhausting and hazardous branch of the whole job. He said, again and again, that he would rather be a sergeant with the 69th than a lieutenant with any other outfit. There was a heart of heroism in the “elfin sprite.” The same dashing insouciance that dictated the weekly article for his paper when in hospital with three broken ribs after being run down by a train was hardened and steeled in the sergeant who nightly tore his uniform into ribbons by crawling out through the barbed wire.

Laughter and comradeship and hearty meals clustered about Kilmer: wherever he touched the grindstone of life there flew up a merry shower of sparks. There is convincing testimony to the courage and beauty that lay quiet at the heart of this singer who said that the poet is only a glorified reporter, and wished he had written “Casey at the Bat.”

Let us spare his memory the glib and customary dishonesty that says “He died as he would have wished to.” No man wishes to die—at least, no poet does. To part with the exhilarating bustle and tumult, the blueness of the sky, the sunlight that tingles on well-known street corners, the plumber's bills and the editor's checks, the mirths of fellowship and the joys of homecoming when lamps are lit—all this is too close a fibre to be stripped easily from the naked heart. But the poet must go where the greatest songs are singing. Perhaps he finds, after all, that life and death are part of the same rhyme.

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The course of events has compelled me for several months to catch an early train at Broad Street three times a week. I call it an “early” train, but, of course, these matters are merely relative; 7:45 are the figures illuminated over the gateway—not so very precocious, perhaps; but quite rathe enough for one of Haroun-al-Raschid temper, who seldom seeks the “oblivion of repose” (Boswell's phrase) before 1a. m.

Nothing is more pathetic in human nature than its faculty of self-deception. Winding up the alarm clock (the night before) I meditate as to the exact time to elect for its disturbing buzz. If I set it at6:30 that will give me plenty of time to shave and reach the station with leisure for a pleasurable cup of coffee. But (so frail is the human will) when I wake at 6:30 I will think to myself, “There is plenty of time,” and probably turn over for “another five minutes.” This will mean a hideous spasm of awakening conscience about 7:10—an unbathed and unshaven tumult of preparation, malisons on the shoe manufacturers who invented boots with eyelets all the way up, a frantic sprint to Sixteenth Street and one of those horrid intervals that shake the very citadel of human reason when I ponder whether it is safer to wait for a possible car or must start hotfoot for the station at once. All this is generally decided by setting the clock for 6:50. Then, if I am spry, I can be under way by 7:20 and have a little time to be philosophical at the corner of Sixteenth and Pine. Of the vile seizures of passion that shake the bosom when a car comes along, seems about to halt, and then passes without stopping—of the spiritual scars these crises leave on the soul of the victim, I cannot trust myself to speak. It does not always happen, thank goodness. One does not always have to throb madly up Sixteenth, with head retorted over one's shoulder to see if a car may still be coming, while the legs make what speed they may on sliddery paving. Sometimes the car does actually appear and one buffets aboard and is buried in a brawny human mass. There is a stop, and one wonders fiercelywhether a horse is down ahead, and one had better get out at once and run for it. Tightly wedged in the heart of the car, nothing can be seen. It is all very nerve-racking, and I study, for quietness of mind, the familiar advertising card of the white-bearded old man announcing “It is really very remarkable that a cigar of this quality can be had for seven cents.”

Suppose, however, that fortune is with me. I descend at Market Street, and the City Hall dial, shining softly in the fast paling blue of morning, marks 7:30. Now I begin to enjoy myself. I reflect on the curious way in which time seems to stand still during the last minutes before the departure of a train. The half-hour between 7 and 7:30 has vanished in a gruesome flash. Now follow fifteen minutes of exquisite dalliance. Every few moments I look suddenly and savagely at the clock to see if it can be playing some saturnine trick. No, even now it is only 7:32. In the lively alertness of the morning mind a whole wealth of thought and accurate observation can be crammed into a few seconds. I halt for a moment at the window of that little lunchroom on Market Street (between Sixteenth and Fifteenth) where the food comes swiftly speeding from the kitchen on a moving belt. I wonder whether to have breakfast there. It is such fun to see a platter of pale yellow scrambled eggs sliding demurely beside the porcelain counter andwhipped dextrously off in front of you by the presiding waiter. But the superlative coffee of the Broad Street Station lunch counter generally lures me on.

What mundane joy can surpass the pleasure of approaching the station lunch counter, with full ten minutes to satisfy a morning appetite! “Morning, colonel,” says the waiter, recognizing a steady customer. “Wheatcakes and coffee,” you cry. With one deft gesture, it seems, he has handed you a glass brimming with ice water and spread out a snowy napkin. In another moment here is the coffee, with the generous jug of cream. You splash in a large lump of ice to make it cool enough to drink. Perhaps the seat next you is empty, and you put your books and papers on it, thus not having to balance them gingerly on your knees. All round you is a lusty savour of satisfaction, the tinkle of cash registers, napkins fluttering and flashing across the counters, coloured waiters darting to and fro, great clouds of steam rising where the big dish covers are raised on the cooking tables. You see the dark-brown coffee gently quivering in the glass gauge of the nickel boiler. Then here come the wheatcakes. Nowhere else on earth, I firmly believe, are they cooked to just that correct delicacy of golden brown colour; nowhere else are they so soft and light of texture, so hot, so beautifully overlaid with a smooth, almost intangible suggestion of crispness. Twogolden butter pats salute the eye, and a jug of syrup. It is now 7:38.

As everyone knows, the correct thing is to start immediately on the first cake, using only syrup. The method of dealing with the other two is classic. One lifts the upper one and places a whole pat of butter on the lower cake. Then one replaces the upper cake upon the lower, leaving the butter to its fate. In that hot and enviable embrace the butter liquefies and spreads itself, gently anointing the field of coming action. Upon the upper shield one smilingly distributes the second butter pat, knifed off into small slices for greater speed of melting. By the time the first cake has been eaten, with the syrup, the other two will be ready for manifest destiny. The butter will be docile and submissive. Now, after again making sure of the time (7:40) the syrup is brought into play and the palate has the congenial task of determining whether the added delight of melting butter outweighs the greater hotness and primal thrill of the first cake which was glossed with the syrup only. You drain your coffee to the dregs; gaze pityingly on those rushing in to snap up a breakfast before the 8 o'clock leaves for New York, pay your check, and saunter out to the train. It is 7:43.

This, to be sure, is only the curtain-raiser to the pleasures to follow. This has been a physical and carnal pleasure. Now follow delights of the mind.In the great gloomy shed wafts and twists of thick steam are jetting upward, heavily coiled in the cold air. In the train you smoke two pipes and read the morning paper. Then you are set down at Haverford. It is like a fairyland of unbelief. Trees and shrubbery are crusted and sheathed in crystal, lucid like chandeliers in the flat, thin light. Along the fence, as you go up the hill, you marvel at the scarlet berries in the hedge, gleaming through the glassy ribs of the bushes. The old willow tree by the Conklin gate is etched against the sky like a Japanese drawing—it has a curious greenish colour beneath that gray sky. There is some mystery in all this. It seems more beautiful than a merely mortal earth vexed by sinful men has any right to be. There is some ice palace in Hans Andersen which is something like it. In a little grove, the boughs, bent down with their shining glaziery, creak softly as they sway in the moving air. The evergreens are clotted with lumps and bags of transparent icing, their fronds sag to the ground. A pale twinkling blueness sifts over distant vistas. The sky whitens in the south and points of light leap up to the eye as the wind turns a loaded branch.

A certain seriousness of demeanour is noticeable on the generally unfurrowed brows of student friends. Midyears are on and one sees them walking, freighted with precious and perishable erudition, toward the halls of trial. They seem alittle oppressed with care, too preoccupied to relish the entrancing pallor of this crystallized Eden. One carries, gravely, a cushion and an alarm clock. Not such a bad theory of life, perhaps—to carry in the crises of existence a cushion of philosophy and an alarum of resolution.

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One of the odd things about human beings is, that wherever they happen to live they accept it as a matter of course. In various foreign cities I have often been amused (as every traveller has) to see people going about their affairs just as though it were natural and unquestionable for them to be there. It is just the same at home. Everyone I see on the streets seems to be not at all amazed at living here instead of (let us say) Indianapolis or Nashville. I envy my small Urchin his sense of the extreme improbability of everything. When he gets on a trolley car he draws a long breath and looks around in ecstasy at the human scenery. I am teaching him to say in a loud, clear tone, as he gets on the car, “Look at all the human beings!” in the same accent of amazement that he uses when he goes to the Zoo. Perhaps in this way he will preserve the happy faculty of being surprised.

It is an agreeable thing to keep the same sense of surprise in one's home town that one would have in a strange city. You will find much to startle you if you keep your eyes open. Yesterday, for instance, I was lucky enough to meet a gentleman who had stood only a few feet away from Lincoln when hemade the Gettysburg Speech. Then I found that in a certain cafeteria which I frequent the price you pay for your lunch is always just one cent less than that punched on the check. The cashier explained that this always gives a pleasant surprise to the customers, and has proved such a good advertising dodge that the proprietor made it a habit. And I saw, in a clothing dealer's window on Ninth Street, some fuzzy caps for men, mottled purple and ochre, that proved that the adventurous spirit has not died in the breast of the male sex.

There is much to exercise the eye in a voyage along Ridge Avenue. Approaching by way of Ninth Street, one sees in the window of a barber shop the new contract that the employing barbers have drawn up with their journeymen. This agreement shows a sound sense of human equities, proclaiming as it does that “the owner must not do no act to injure the barber personal earnings.” It suddenly occurred to me, what I had not thought of before, how the barbers of Great Britain must have grieved when a London newspaper got up (some years ago) an agitation in favour of every man in England raising a beard in memory of King Edward. The plan was that the money thus saved was to be devoted to building—I had almost said “growing”—a battleship, to be named after the Merry Monarch. Of course, one should not speak of raising a beard, but of lowering it. However——

Ridge Avenue begins at Ninth and Vine, in a mood of depression. Perhaps the fact that it runs out toward the city's greatest collection of cemeteries has made it morbidly conscious of human perishability. At any rate, it starts among pawnshops, old clothing and furniture, and bottles of Old Virginia Bitters, the Great Man Restorer. The famous National Theatre at Callowhill Street has become a garage; it is queer to see the old proscenium arch and gilded ceiling dustily vaulted over a fleet of motortrucks. After a wilderness of railway yards one comes to a curious bit in the 1100 block; a little brick tunnel that bends around into a huddle of backyards and small houses, where a large green parrot was stooping and nodding on a pile of old boxes. This little scene is overlooked by the tall brown spires of the Church of the Assumption on Spring Garden Street.

There is matter for tarrying at the Spring Garden Street crossing. Here is an ambitious fountain built by the bequest of Mary Rebecca Darby Smith, with the carving by J. J. Boyle picturing another Rebecca (she of Genesis xxiv, 14) giving a drink to Abraham's servant and his camels. It is carved in the bronze that the donor gave the fountain “To refresh the weary and thirsty, both man and beast,” so it is disconcerting to find it dry, as dry as the inns along the way. The horse trough is boarded over and thirsting equines go up to Broad Street for a draught.The seat by the fountain was occupied by a man reading the New YorkJournal, always a depressing sight.

Across from the fountain is one of the best magazine and stationery shops in the city. Here I overheard a conversation which I reproduce textually. “What you doing, reading?” said one to another. “Yes, reading about the biggest four-flusher in the Yew-nited States,” said he, looking over an afternoon paper which had just come in. “Who do you mean?” “Penrose. Say if it was a Republican in the White House, theyda passed the treaty long ago.” The proprietor of this shop is a humorist. Someone came in asking for a certain brand of cigarettes. He does not sell tobacco. “Next door,” he said, and added: “And you'll find some over on the fountain.”

Ridge Avenue specializes in tobacco shops, where you will find many brands that require a strong head. Red Snapper, Panhandle Scrap, Pinch Hit, Red Horse, Brown's Mule, Jolly Tar, Penn Statue Cuttings, Nickel Cross Cut, Cotton Ball Twist. In the shop windows you will see those photographs illustrating current events, the two favourites just now being a picture of Mike Gilhooley, the famous stowaway, gazing plaintively at the profile of New York, and “Jack Dempsey Goes the Limit,” where Jack signs up for a $1,000 war-savings certificate. One wonders if Jack's kind of warfare is really so profitable after all.

There are a number of little side excursions from the avenue that repay scrutiny. Lemon Street, for instance, where in a lane of old brown wooden houses some children were playing in an empty wagon, with the rounded tower of the Rodef Shalom synagogue looming in the background. Best of all is Melon Street and its modest tributary, Park Avenue—stretches of quiet little brick homes with green and yellow shutters and mottled gray marble steps. These little houses have the serene and sunny air so typical of Philadelphia byways. Through their narrow side entrances one sees glimpses of green in backyards. In the front windows move the gently swaying faces of grandmothers, lulled in the to and fro of a rocking chair. There are shining brass knobs and bell-pulls; rubber plants on the sills, or perhaps a small bowl of goldfish with a white china swan floating. In one window was a sign “Vacancies.” Over it hung a faded service flag with a golden star. Who could phrase the pathos of these two things, side by side?

At Broad Street, Ridge Avenue leaps up with a spurt of high life. In the window of a hotel dining room a gentleman sat eating his lunch, stevedoring a buttered roll with such gusto that one felt tempted to applaud. There are the white pillars of a bank and the battleship gray of the Salvation Army headquarters. Beyond Broad, the avenue spruces up a bit and enters upon a vivacious phase. Dogs arefrequent: white bull terriers lie sunning in the shop windows. Offers to lend money are enticing. There is a fascinating slate yard at 1525, where great gray slabs lie in the sun, a temptation to urchins with a bit of chalk. In the warm bask of the afternoon there rises a pleasing aroma of fruits and vegetables piled up in baskets and crates on the pavement. Grapes give off a delectable savour in the golden air. Elderly ladies are out in force to do the marketing, and their eyes are bright with the bargaining passion. Round the windows of a ten-cent store, most fascinating of all human spectacles, they congregate and compare notes. A fruit dealer has an ingenious stunt to attract attention. On his cash register lies a weird-looking rotund little fish—a butter fish, he calls it—which has a face not unlike that of Fatty Arbuckle. Either this fish inflates itself or he has blown it full of air in some ingenious manner, for it presents a grotesque appearance, and many ladies stop to inquire. Then he spoofs them gently. “Sure,” he says, “it's a jitney fish. It lives on the cash register. It can fly, it can bite, it can talk, and it likes money.”

At the corner of Wylie Street stands an old gray house with a mansard roof and gable windows. Against it is a vivid store of fruit glowing in the sun, red and purple and yellow. Here, or on Vineyard Street, one turns off to enter the quaint triangular settlement of Francisville.

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Sunday afternoon is by old tradition dedicated to the taking of Urchins out to taste the air, and indeed there is no more agreeable pastime. And so, as the Urchin sat in his high chair and thoughtfully shovelled his spoon through meat chopped remarkably small and potatoes mashed in that curious fashion that produces a mass of soft, curly tendrils, his curators discussed the question of where he should be taken.

It was the first Sunday in March—mild and soft and tinctured with spring. “There's the botanic garden at the University,” I suggested. TheUrchin settled it by rattling his spoon on the plate and sliding several inches of potato into his lap. “Go see garden!” he cried. With the generous tastes of twenty-seven months he cares very little where he is taken; he can find fascination in anything; but something about the word “garden” seemed to allure him. So a little later when he had been duly habited in brown leggings, his minute brown overcoat, and white hat with ribbons behind it, he and his curators set out. The Urchin was in excellent spirits, for he had been promised a ride on a trolley car—a glorious adventure. In one pocket he carried his private collection of talismans, including a horse-chestnut and a picture of a mouse. Also, against emergencies, a miniature handkerchief with a teddy bear embroidered in one corner and a safety pin. The expedition may be deemed to have been a success, as none of these properties were called upon or even remembered.

The car we boarded did not take us just where we expected to go, but that made little difference to the Urchin, who gazed steadfastly out of the window at a panorama of shabby streets, and offered no comment except one of extreme exultation when we passed a large poster of a cow. Admirably docile, he felt confident that the unusual conjunction of both arbiters of destiny and an impressive trolley car would in the end produce something extremely worth while. We sped across Gray's Ferry bridge—it seems strange to think that region was once so quiet, green, and rustic—transferred to another car on Woodland Avenue, past the white medley of tombstones in Woodland Cemetery, and got off at the entrance to the dormitory quadrangles at Thirty-seventh Street. We entered through the archway—the Urchin's first introduction to an academic atmosphere. “This is the University,” I said to him severely, and he was much impressed. As is his way, he conducted himself with extreme sobriety until he should get the hang of this new experience and see what it was all about. I knew from the serene gold sparkle of his brown eyes that there was plenty of larking spirit in him, waiting until he knew whether it was safe to give it play. He held my hand punctiliously while waiting to see what manner of place this University was.

A college quadrangle on a Sunday afternoon has a feeling all its own. Thin tinklings of mandolins eddy from open windows, in which young men may be seen propped up against bright-coloured cushions, always smoking, and sometimes reading with an apparent zeal which might deceive a few onlookers. But the slightest sound of footfalls on the pavement outside their rooms causes these heads to turn and scan the passers. There is always a vague hope in these youthful breasts that some damsel of notable fairness may have strayed within the bastions. Groups of ladies of youth and beauty do often walkdemurely through the courts, and may be sure of hearing admiring whistles shrilled through the sunny air. When a lady walks through a college quadrangle and hears no sibilation, let her know sadly that first youth is past. Even the sedate guardianship of Scribe and Urchin did not forfeit one Lady of Destiny her proper homage of tuneful testimonial. So be it ever!

One who inhabited college quadrangles not so immeasurably long ago, and remembers with secret pain how massively old, experienced, and worldly wise he then thought himself, can never resist a throb of amazement at the entertaining youthfulness of these young monks. How quaintly juvenile they are, and how oddly that assumption of grave superiority sits upon their golden brows! With what an inimitable air of wisdom, cynicism, ancientry, learned aloofness and desire to be observed do they stroll to and fro across the quads, so keenly aware in their inmost bosoms of the presence of visitors and determined to grant an appearance of mingled wisdom, great age, and sad doggishness! What a devil-may-care swing to the stride, what a nonchalance in the perpetual wreath of cigarette smoke, what a carefully assumed bearing of one carrying great wisdom lightly and easily casting it aside for the moment in the pursuit of some waggish trifle. “Here,” those very self-conscious young visages seem to betray, “is one who might tell youall about the Holy Roman Empire, and yet is, for the moment, diverting himself with a mere mandolin.” And yet, as the Lady of Destiny shrewdly observed, it is a pity they should mar their beautiful quadrangles with orange peel and scraps of paper.

We walked for some time through those stately courts of Tudor brick and then passed down the little inclined path to the botanic garden, where irises and fresh green spikes are already pushing up through the damp earth. A pale mellow sunlight lay upon the gravel walks and the Urchin resumed his customary zeal. He ran here and there along the byways, examined the rock borders with an air of scientific questioning, and watched the other children playing by the muddy pond. We found shrubbery swelling with buds, also flappers walking hatless and blanched with talcum, accompanied by Urchins of a larger growth. Both these phenomena we took to be a sign of the coming equinox.

Returning to the dormitory quadrangles, we sat down on a wooden bench to rest, while the Urchin, now convinced that a university is nothing to be awed by, scampered about on the turf. His eye was a bright jewel of roguishness, for he thought that in trotting about the grass he was doing something supremely wicked. He has been carefully trained not to err on the grass of the city square to which he is best accustomed, so this surprising and unchecked revelry quite went to his head. Across and aboutthose wide plots of sodden turf he trotted and chuckled, a small, quaint mortal with his hat ribbons fluttering. Cheering whistles hailed him from open windows above, and he smiled to himself with grave dignity. Apparently, like a distinguished statesman, he regarded these tributes not as meant for himself, but for the great body of childhood he innocently represents, and indeed from which his applauders are not so inextricably severed. With the placid and unconscious happiness of a puppy he careered and meandered, without motive or method. Perhaps his underlying thought of a university, if he has any, is that it is a place where no one says “Keep Off the Grass,” and, intellectually speaking, that would not be such a bad motto for an institution of learning.

I don't know whether Doctor Tait McKenzie so intended it, but his appealing and beautiful statue of Young Franklin in front of the University gymnasium is admirably devised for the delight of small Urchins. While their curators take pleasure in the bronze itself, the Urchin may clamber on the different levels of the base, which is nicely adapted for the mountaineering capacity of twenty-seven months. The low brick walls before the gymnasium and the University museum are also just right for an Urchin who has recently learned the fascination of walking on something raised above the ground, provided there is a curator near by to hold his hand.And then, as one walks away toward the South Street bridge an observant Urchin may spy the delightful spectacle of a freight train travelling apparently in midair. Some day, one hopes, all that fine tract of open space leading from the museum down to the railroad tracks may perhaps be beautified as a park or an addition to the University's quadrangle system. I don't know who owns it, but its architectural possibilities must surely make the city-planner's mouth water.

By this time the Urchin was beginning to feel a bit weary, and was glad of a lift on a parental shoulder. Then a Lombard Street car came along and took us up halfway across the bridge. So ended the Urchin's first introduction to a university education.

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Our neighbourhood is very genteel. I doubt if any one who has not lived in Philadelphia can imagine how genteel it is. Visitors from out of town are wont to sigh with rapture when they see our trim blocks of tall brick dwellings—that even cornice running in a smooth line for several hundred yards really is quite a sight—and exclaim, “Oh, I wish we had something like this in New York!” But our gentility is a little self-conscious, for we live on the very frontier of a region, darker in complexion, which is far from scrupulous in deportment. Uproarious and naïve are the humours of South Street, lying just behind us. Stanleys have gone exploring thither and come back with merry tales. South Street on a bright evening, its myriad barber shops gleaming with lathered dusky cheeks, wafting the essence of innumerable pomades and lotions, that were a Travel indeed. On South Street the veins of life run close to the surface.

We are no less human on our street, but it takes a bit more study to get at the secret. There is a certain reticence about us. It would take an earthquake to cause much fraternization along Pine Street.Perhaps it is because three houses out of every four bear the tablets of doctors. The average layman fears to stop and speak to his neighbour for fear it will develop into a professional matter. We board up our front windows at night with heavy wooden shutters. We have no druggists, only “apothecaries.” These apothecaries are closed on Sundays. They sell stamps in little isinglass capsules, to be quite sanitary, two twos in a capsule for five cents. In their shops you can still get soda water with “plain cream” and shaved ice, such as was customary twenty-five years ago. When our doctors go away for the summer, someone comes twice a week from June to October to polish up the little silver name plate. It is the custom in our neighbourhood (so one observes through drawing room windows) to have reading lamps with rosy pink shades and at least two beautiful daughters of débutante age. I hope I am not unjust, but our street looks to me like the kind of place where people take warm baths, in a roomy old china tub, on Sunday afternoons. After that, they go downstairs and play a hymn on the piano, at twilight.

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