INSTALLMENT I.

       One of the greatest of books is the daily life around us. All that the human mind can conceive; all that the human heart can feel, and the lips tell are encompassed in the little world about us. He that beholds with understanding eyes can see beneath the thin veil of the commonplace, the romance, the tragedy and the broad comedy that is being played upon the world's stage by the actors great and little who tread the boards of the Theater of the Universe.

       Life is neither tragedy nor comedy. It is a mingling of both. High above us omnipotent hands pull the strings that choke our laughter with sobs and cause strange sounds of mirth to break in upon our deepest grief. We are marionettes that dance and cry, scarce at our own wills; and at the end, the flaring lights are out, we are laid to rest in our wooden boxes, and down comes the dark night to cover the scene of our brief triumph.

       We elbow heroes on the streets as grand as any the poets have sung; in the faces of obscure women and prosy men a student of his kind can see the imprints of all the passions, both good and bad, that have illuminated the pages of song and story.

       There is good in all, and we are none all good. The scholar in his library, the woodcutter in the forest, my lady in her boudoir and the painted, hard-eyed denizen of the byways — we are all from the same clay.

       And the hands of fate pull the strings, and we caper and pirouette; and some go up and some go down and haphazard chance or else an obscure divinity pulls us this way and that, and where are we left? Blind and chattering on the brink of an eternal unknowableness. We spring from a common root. The king and the bricklayer are equal except as to environs; the queen and the milkmaid may sit side by side with pail and crown on the ragged edge of destiny; the human heart is the same the world over; and when the judge sits upon the doings of his puppets, who will prevail?

       The Post Man has an overcoat with a high collar. This is convenient in more ways than one. He turns it up when passing beggars upon the street corners, and thus shuts out their importunities and saves his conscience; he pulls it around his ears with dignified stateliness when meeting gentlemen who deal in goods, which he hath bought anon; and lastly, it is useful when the weather is cold.

       Sometimes when the purple shades begin to fall on Saturday evening and the cool mists creep up from the sluggish waters of the bayou the Post Man dons his useful article of apparel and hieth forth among the hedges and the highways. He sees the seamy side through the gilding that covers the elect of the earth, and he sees the pure gold that glitters amid the mire where tread the lowly and meek of heart. He catches the note of discord in the prayer of the Pharisee on the street corner, and the jangle of the untuned bells that hang above many houses of worship. He sees strange deeds of nobility and lofty self-denial among people from whose touch respectability draws aside its skirts, and the mark of the beast upon the brow of the high and saintly.

       A little here and there he jots down upon his pad; the greater part of the panorama goes by unrecorded until something comes in the vast to be that will either explain — or end.

       Robert Burns has drawn a perfect picture of the purest peace and happiness in his "Cotter's Saturday Nights." The laborer comes home from his work and is met by his joyful family. The fire burns brightly, the lamp is lit, and they draw the curtains and sit about their humble board, shutting in their little happy world from the cold and bleak night.

       There are such homes now and always will be, but if one will traverse the streets of a city on Saturday night he will witness many scenes of a far different nature.

       As the homeward-bound columns file along the sidewalks there is much to be seen that presages sorrow and scant comfort to the waiting ones at their homes. There are staggering steps, loud speeches with rude and thickened tongues, and plentiful signs of misspent wages and the indulgence of debased appetites.

       The saloons are reaping a rich harvest that should belong to wives and children. Some fling away in an hour what has taken them days to earn, and will carry home nothing but sullen looks and empty pockets. You can see all along the streets pale, anxious-looking women slipping through the crowd in the hope of meeting the providers and protectors of their homes, and inducing them to come there instead of lingering with their besotted comrades. What should be a season of rest and repose beneath the home vine and fig tree is turned into Saturnalia, and a loosing of bad passions.

       Homeward flit the trim shop girls, the week's work over, intent on the rest and pleasure of the morrow; threading their straightforward and detrous way through the throng. Homeward plods the weary housekeeper with her basket of vegetables for Sunday's dinner. Homeward goes the solid citizen laden with bundles and bags. Homeward slip weary working women, hurrying to fill the hungry mouths awaiting them. Respectability moves homeward, but as the everlasting stars creep out above, queer and warped things steal forth like imps of the night to hide and sulk and carouse and prey upon whatever the darkness bringeth to them.

       Down on the bank of the bayou, beyond the car shops, the foundries, the lumbermills and the great manufacturies that go to make Houston the wonderful business and trade center she is, stands — or rather, leans — a little shanty. It is made of clapboards, old planks, pieces of tin and odds and ends of lumber picked up here and there. It is built close to the edge of the foul and sluggish bayou. Back of it rises the bank full 10 feet high; below it, only a few feet, ripples, the sullen tide.

       In this squalid hut lives Crip. Crip is 9 years old. He is freckled-faced, thin and subdued. From his knee his left leg is gone and in its place is a clumsy wooden stump, on which he limps around at quite a wonderful pace. Crip's mother cleans up three or four offices on Mam street and takes in washing at other times. Somehow, they manage to live in this tottering habitation patched up by Crip's father, who, several years before had fallen into the bayou one night while drunk, and what was left of him by the catfish was buried upon the bank a hundred yards farther down. Of late, Crip had undertaken to assist in the mutual support.

Continued Tomorrow.

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INSTALLMENT II.

       One morning he came stumping timidly into the office of the Post and purchased a few papers. These he offered for sale upon the streets with great diffidence. Crip had no difficulty in selling his papers. People stopped and bought readily the wares of this shrinking, weak-voiced youngster. His wooden leg caught the eye of hurrying passers-by and the nickels rained into his hand as long as he had any papers left.

       One morning Crip failed to call for his papers. The next day he did not appear, nor the next, and one of the newsboys was duly questioned as to his absence.

       "Crip's got de pewmonia," he said.

*       *      *

       The Post Man, albeit weighed down by numerous tribulations of others and his own, when night comes puts on his overcoat and wends his way down the bayou toward the home of Crip.

       The air is chilly and full of mist, and great puddles left by the recent rains glimmer and sparkle in the electric lights. No wonder that pneumonia has laid its cold hand upon the frail and weakly Crip, living as he does in the rain-soaked shanty down on the water's edge. The Post man goes to inquire if he has had a doctor and if he is supplied with the necessities his condition must require. He walks down the railroad tracks and comes close upon two figures marching with uncertain stateliness in the same direction.

       One of them speaks loudly, with oratorical flourish, but with an exaggerated carefulness that proclaims he is in a certain stage of intoxication. His voice is well known in the drawing rooms and the highest social circles of Houston. His name is — well, let us call him Old Boy, for so do his admiring companions denominate him. There comes hurrying past them the form of a somberly-clad woman.

       Intuitively the Post Man thinks she is of the House of Crip and accosts her with interrogatories. He gleans from her gasping brogue that a doctor has seen Crip and that he is very sick, but with proper medicines, nursing and food he will probably recover. She is now hastening to the drug store to buy — with her last dollar, she says — the medicine he must take at once.

       "I will stay with him until you return," says the Post Man, and with a fervent "Hiven bless you, sorr!" she melts away toward the lights of the city.

       The house where Crip lives is on a kind of shelf on the bayou side and its approach from above must be made down a set of steep and roughly hewn steps cut into the bank by the deceased architect of the house. At the top of these stairs the two society lights stop.

       "Old Boy," says one of them, "give it up. It might be catching. And you are going to the dance tonight. This little rat of a newsboy — why should you see him personally? Come, let's go back. You've had so much —"

       "Bobby," says Old Boy, "have I labored all these years in vain, trying to convince you that you are an ass? I know I'm a devil of a buzzer-fly, and glash of fashion, but I've gozzer see zat boy. Sold me papers a week, 'n now zey tell me he's sick in this rash hole down here. Come on, Bobby, or else go't devil. I'm going in."

       Old Boy pushes his silk hat back on his head and starts with dangerous rapidity down the steep stairs.

       His friend, seeing that he is determined, takes his arm and they both sway and stagger down to the little shelf of land below.

       The Post Man follows them silently, and, they are too much occupied with their own unsteady progress to note his presence. He slips around them, raises the latch of the rickety door, and enters the miserable hut.

       Crip lies on a meager bed in the corner, with great, feverish eyes, and little, bony, restless fingers moving nervously upon the covers. The night wind blows in streamy draughts between the many crannies and flares the weak flame of a candle stuck in its own grease upon the top of a wooden box.

       "Hello, mister," says Crip. "I knows yer. Yer works on de paper. I been laid up with arattlin' pain in me chist. Who wins de fight?"

       "Fitzsimmons won," says the Post Man, feeling his hot freckled hand. "Are you in much pain?"

       "How many rounds?"

       "First round. Less than two minutes. Can I do anything to make you easier?"

       "Geeminetty! dat was quick. Yer might gimme a drink."

       The door opens again and two magnificent beings enter. Crip gives a little gasp as his quick eyes fall upon them. Old Boy acknowledges the presence of the Post Man by a deep and exaggerated but well intentioned bow, and then ha goes and stands by Crip's bedside.

       "Old man," he says, with solemnly raised eyebrows, "Whazzer mazzer?"

       "Sick," says Crip. "I know yer. Yer gimme a quarter for a paper one mornin'."

       Old Boy's friend ranges himself in the background. He is a man in a dress suit with a mackintosh and cane, and is not of an obtrusive personality.

       He shows an inclination to brace himself against something, but the fragile furniture of the hut not promising much support, he stands uneasily, with a perplexed frown upon his face, awaiting developments.

       "You little devil," says Old Boy, smiling down with mock anger at the little scrap of humanity under the covers, "Do you know why I've come to see you?"

       "N-n-n-no, sir," says Crip, the fever flush growing deeper on his cheeks. He has never seen anything so wonderful as this grand, tall, handsome man in his black evening suit, with the dark, half-smiling, half-frowning eyes, and the great diamond flashing on his snowy bosom, and the tall, shiny hat on the back of his head.

       "Gen'lemen," says Old Boy, with a comprehensive wave of his hand, "I don't know myself, why I have come here, but I couldn't help it. That little devil's eyes have been in my head for a week. I've never sheen him in my life till a week ago: but I've sheen his eyes somewhere, long time ago. Sheems to me I knew this little rascal when I was a kid 'way back before I left Alabama; but, then, gentlemen, thash impossible. However, as Bobby will tell you, I made him walk all the way down here with me to shee zis little sick fellow, 'n now we mus do all we can for 'm."

       Old Boy runs his hands into his pockets and draws out the contents thereof and lays all, with lordly indiscrimination, on the ragged quilt that covers Crip.

       "Little devil," he says solemnly, "you mus' buy medicine and get well and come back and shell me papers again. Where in thunder have I seen you before? Never mind. Come on, Bobby — good boy to wait for me — come on now and le's get a zrink."

       The two magnificent gentlemen sway around grandly for a moment, make elaborate but silent adieus in the direction of Crip and the Post Man, and finally dwindle out into the darkness, where they can be heard urging each other forward to the tremendous feat of remounting the steps that lead to the path above.

       Presently Crip's mother returns with his medicine and proceeds to make him comfortable. She gives a screech of surprise at what she sees lying upon the bed, and proceeds to take an inventory. There are $42 in currency. $6.50 in silver, a lady's silver slipper buckle and an elegant pearl-handled knife with four blades.

       The Post Man sees Crip take his medicine and his fever go down, and promising him to bring down a paper that tells all about the great fight, he moves away. A thought strikes him, and he stops near the door and says:

       "Your husband, now where was he from?"

       "Oh, plaze yer honor," says Crip's mother, "from Alabama he was, and a gentleman born, as every one could tell till the dhrink got away wid him, and thin he married me."

       As the Post Man departs he hears Crip say to his mother reverentially:

       "Dat man what left de stuff, mammy, he couldn't have been God, for God don't get full; but if it wasn't him, mammy. I bet a dollar he was Dan Stuart."

       As the Post Man trudges back along the dark road to the city, he says to himself:

       "We have seen tonight good springing up where we would never have looked for it, and something of a mystery all the way from Alabama. Heigho! this is a funny little world."

THE END.