The Hohenzollerns in America<br />With the Bolsheviks in Berlin and Other Impossibilities, Stephen Leacock [crime books to read txt] 📗

But successful as they were as Hero and Heroine, Markham and Madeline presently passed off the scene. Where they went to, I do not know. Perhaps Markham got elected in the legislature of Massachusetts. At any rate they disappeared from fiction.

There followed in place of Madeline, the athletic sunburned heroine with the tennis racket. She was generally called Kate Middleton, or some such plain, straightforward designation. She wore strong walking boots and leather leggings. She ate beef steak. She shot with a rifle. For a while this Boots and Beef Heroine (of the middle nineties) made a tremendous hit. She climbed crags in the Rockies. She threw steers in Colorado with a lariat. She came out strong in sea scenes and shipwrecks, and on sinking steamers, where she "cowed" the trembling stewards and "dogged" the mutinous sailors in the same fashion that Madeline used to "cow" and "dog" Lord Rip de Viperous.

With the Boots and Beef Heroine went as her running mate the out-of-doors man, whose face had been tanned and whose muscles had been hardened into tempered steel in wild rides over the Pampas of Patagonia, and who had learned every art and craft of savage life by living among the wild Hoodoos of the Himalayas. This Air-and-Grass-man, as he may be called, is generally supposed to write the story... He was "I" all through. And he had an irritating modesty in speaking of his own prowess. Instead of saying straight out that he was the strongest and bravest man in the world, he implied it indirectly on every page.

Here, for example, is a typical scene in which "I" and Kate figure in a desperate adventure in the Rocky Mountains, pursued by Indians.

"We are about to descend on a single cord from the summit of a lofty crag, our sole chance of escape (and a frightfully small chance at that) from the roving band of Apaches.

"With my eye I measured the fearsome descent below us.

"'Hold fast to the line, Miss Middleton,' I said as I set my foot against a projecting rock. (Please note that the Air-and-Grass Hero in these stories always calls the Heroine Miss Middleton right up to the very end.)

"The noble girl seized the knotted end of the buckskin line. 'All right, Mr. Smith,' she said with quiet confidence.

"I braced myself for the effort. My muscles like tempered steel responded to the strain. I lowered a hundred fathoms of the line. I could already hear the voice of Kate far down the cliff.

"Don't let go the line, Miss Middleton,' I called. (Here was an excellent piece of advice.)

"The girl's clear voice floated up to me... 'All right, Mr. Smith,' she called, 'I won't.'"

Of course they landed safely at the foot of the cliff, after the manner of all heroes and heroines. And here it is that Kate in her turn comes out strong, at the evening encampment, frying bacon over a blazing fire of pine branches, while the firelight illuminates her leather leggings and her rough but picturesque costume.

The circumstances might seem a little daring and improper. But the reader knows that it is all right, because the hero and heroine always call one another Miss Middleton and Mr. Smith.

Not till right at the end, when they are just getting back again to the confines of civilization, do they depart from this.

Here is the scene that happens... The hero and heroine are on the platform of the way-side depot where they are to part... Kate to return to the luxurious home of her aunt, Mrs. van der Kyper of New York, and the Air-and-Grass Man to start for the pampas of Patagonia to hunt the hoopoo. The Air-and-Grass Man is about to say goodbye. Then... "'Kate,' I said, as I held the noble girl's gloved hand in mine a moment. She looked me in the face with the full, frank, fearless gaze of a sister.

"'Yes?' she answered.

"'Kate,' I repeated, 'do you know what I was thinking of when I held the line while you were half way down the cliff?'

"'No,' she murmured, while a flush suffused her cheek.

"'I was thinking, Kate,' I said, 'that if the rope broke I should be very sorry.'

"'Edward!' she exclaimed.

"I clasped her in my arms.

"'Shall I make a confession,' said Kate, looking up timidly, half an hour later, as I tenderly unclasped the noble girl from my encircling arms, ...'I was thinking the same thing too.'"

So Kate and Edward had their day and then, as Tennyson says, they "passed," or as less cultivated people put it, "they were passed up in the air."

As the years went by they failed to please. Kate was a great improvement upon Madeline. But she wouldn't do. The truth was, if one may state it openly, Kate wasn't TOUGH enough. In fact she wasn't tough at all. She turned out to be in reality just as proper and just as virtuous as Madeline.

So, too, with the Air-and-Grass Hero. For all of his tempered muscles and his lariat and his Winchester rifle, he was presently exposed as a fraud. He was just as Long-winded and just as Immaculate as the Victorian Hero that he displaced.

What the public really wants and has always wanted in its books is wickedness. Fiction was recognised in its infancy as being a work of the devil.

So the popular novel, despairing of real wickedness among the cannibals, and in the ruined tower at midnight, and on the open-air of the prairies, shifted its scenes again. It came indoors. It came back to the city. And it gave us the new crop of heroes and heroines and the scenes and settings with which the fiction of to-day has replaced the Heroes and Heroines of Yesterday. The Lure of the City is its theme. It pursues its course to the music of the ukalele, in the strident racket of the midnight cabaret. Here move the Harvard graduate in his dinner jacket, drunk at one in the morning. Here is the hard face of Big Business scowling at its desk; and here the glittering Heroine of the hour in her dress of shimmering sequins, making such tepid creatures as Madeline and Kate look like the small change out of a twenty-five cent shinplaster.