gently and all untruthfully she faltered, with yearning eyes on the majestic swans:
"Don't you have no sad feelings, Patrick. I ain't got none. Ain't I told you from long, how I don't need no rubber-neck-boat-bird rides? I don't need 'em! I don't need 'em! I"—with a sob of passionate longing—"I'm got all times a awful scare over 'em. Let's go home, Patrick. Becky needs she should see her mamma, und I guess I needs my mamma too."
MYRA KELLY
Is it necessary to say that she was Irish? The humor, the sympathy, the quick understanding, the tenderness, that play through all her stories are the birthright of the children of Erin. Myra Kelly was born in Dublin, Ireland. Her father was Dr. John E. Kelly, a well-known surgeon. When Myra was little more than a baby, the family came to New York City. Here she was educated at the Horace Mann High School, and afterwards at Teachers College, a department of Columbia University, New York. She graduated from Teachers College in 1899. Her first school was in the primary department of Public School 147, on East Broadway, New York, where she taught from 1899 to 1901. Here she met all the "little aliens," the Morris and Isidore, Yetta and Eva of her stories, and won her way into their hearts. To her friends she would sometimes tell of these children, with their odd ideas of life and their dialect. "Why don't you write these stories down?" they asked her, and at last she sat down and wrote her first story, "A Christmas Present for a Lady." She had no knowledge of editorial methods, so she made four copies of the story and sent them to four different magazines. Two of them returned the story, and two of them accepted it, much to her embarrassment. The two acceptances came from McClure's Magazine and The Century. As McClure's replied first she gave the story to them, and most of her other stories were first published in that magazine.
When they appeared in book form, they were welcomed by readers all over the country. Even the President of the United States wrote to express his thanks to her, in the following letter:
Oyster Bay, N. Y.
July, 26, 1905.
My dear Miss Kelly:—
Mrs. Roosevelt and I and most of the children know your very amusing and very pathetic accounts of East Side school children almost by heart, and I really think you must let me write and thank you for them. When I was Police Commissioner I quite often went to the Houston Street public school, and was immensely impressed by what I saw there. I thought there were a good many Miss Baileys there, and the work they were doing among their scholars (who were largely of Russian-Jewish parentage like the children you write of) was very much like what your Miss Bailey has done.
Very sincerely yours,
Theodore Roosevelt.
After two years of school room work, Miss Kelly's health broke down, and she retired from teaching, although she served as critic teacher in the Speyer School, Teachers College, for a year longer. One of the persons who had read her books with delight was Allen Macnaughton. Soon after he met Miss Kelly, and in 1905 they were married. They lived for a time at Oldchester Village, New Jersey, in the Orange mountains, in a colony of literary people which her husband was interested in establishing. After several years of very successful literary work, she developed tuberculosis. She went to Torquay, England, in search of health, and died there March 31, 1910.
Her works include the following titles: Little Citizens; The Isle of Dreams; Wards of Liberty; Rosnah; the Golden Season; Little Aliens; New Faces. One of the leading magazines speaks of her as the creator of a new dialect.
HERO WORSHIP
Most of us are hero-worshippers at some time of our lives. The boy finds his hero in the baseball player or athlete, the girl in the matinée idol, or the "movie" star. These objects of worship are not always worthy of the adoration they inspire, but this does not matter greatly, since their worshippers seldom find it out. There is something fine in absolute loyalty to an ideal, even if the ideal is far from reality. "The Tenor" is the story of a famous singer and two of his devoted admirers.
THE TENOR[1]
BY
H. C. Bunner
It was a dim, quiet room in an old-fashioned New York house, with windows opening upon a garden that was trim and attractive, even in its wintry days—for the rose-bushes were all bundled up in straw ulsters. The room was ample, yet it had a cosy air. Its dark hangings suggested comfort and luxury, with no hint of gloom. A hundred pretty trifles told that it was a young girl's room: in the deep alcove nestled her dainty white bed, draped with creamy lace and ribbons.
"I was so afraid that I'd be late!"
The door opened, and two pretty girls came in, one in hat and furs, the other in a modest house dress. The girl in the furs, who had been afraid that she would be late, was fair, with a bright color in her cheeks, and an eager, intent look in her clear brown eyes. The other girl was dark-eyed and dark-haired, dreamy, with a soft, warm dusky color in her face. They were two very pretty girls indeed—or, rather, two girls about to be very pretty, for neither one was eighteen years old.
The dark girl glanced at a little porcelain clock.
"You are in time, dear," she said, and helped her companion to take off her wraps.
Then the two girls crossed the room, and with a caressing and almost a reverent touch, the dark girl opened the doors of a little carven cabinet that hung upon the wall, above a small table covered with a delicate white cloth. In its depths, framed in a mat of odorous double violets, stood the photograph of the face of a handsome man of forty—a face crowned with clustering black locks, from beneath which a pair of large, mournful eyes looked out with something like religious fervor in their rapt gaze. It was the face of a foreigner.
"O Esther!" cried the other girl, "how beautifully you have dressed him to-day!"
"I wanted to get more," Esther said; "but I've spent almost all my allowance—and violets do cost so shockingly. Come, now—" with another glance at the clock—"don't let's lose any more time, Louise dear."
She brought a couple of tiny candles in Sevrès candlesticks, and two little silver saucers, in which she lit fragrant pastilles. As the pale gray smoke arose, floating in faint wreaths and spirals before the enshrined photograph, Louise sat down and gazed intently upon the little altar. Esther went to her piano and watched the clock. It struck two. Her hands fell softly on the keys, and, studying a printed program in front of her, she began to play an overture. After the overture she
