grandest violin player in the world. Not that I care much for the violin, myself. Kind of squeaky, I always think. But it just goes to show they're all alike. Ain't it the truth? I jollied him just like I did Sam Bloom, of Ganz & Pick, Novelties, an hour before. He laughed just where Sam did. And they both handed me a line of talk about my hair and eyes, only Sam said I was a doll, and this Schabelitz, or whatever his name is, said I was as alluring as a Lorelei. I guess he thought he had me there, but I didn't go through the seventh reader for nothing. `If you think I'm flattered,' I said to him, `you're mistaken. She was the mess who used to sit out on a rock with her back hair down, combing away and singing like mad, and keeping an eye out for sailors up and down the river. If I had to work that hard to get some attention,' I said, `I'd give up the struggle, and settle down with a cat and a teakettle.' At that he just threw back his head and roared. And when Mrs. Brandeis came up he said something about the wit of these American women. `Work is a great sharpener of wit — and wits,' Mrs. Brandeis said to him. `Pearl, did Aloysius send Eddie out with that boiler, special?' And she didn't pay any more attention to him, or make any more fuss over him, than she would to a traveler with a line of samples she wasn't interested in. I guess that's why he had such a good time.”
Sadie was right. That was the reason. Fanny, coming into the store half an hour later, saw this man who had swayed thousands with his music, down on his hands and knees in the toy section at the rear of Brandeis' Bazaar. He and Sadie and Aloysius were winding up toy bears, and clowns, and engines, and carriages, and sending them madly racing across the floor. Sometimes their careening career was threatened with disaster in the form of a clump of brooms or a stack of galvanized pails. But Schabelitz would scramble forward with a shout and rescue them just before the crash came, and set them deftly off again in the opposite direction.
“This I must have for my boy in New York.” He held up a miniature hook and ladder. “And this windmill that whirls so busily. My Leo is seven, and his head is full of engines, and motors, and things that run on wheels. He cares no more for music, the little savage, than the son of a bricklayer.”
“Who is that man?” Fanny whispered, staring at him.
“Levine Schabelitz.”
“Schabelitz! Not the — ”
“Yes.”
“But he's playing on the floor like — like a little boy! And laughing! Why, Mother, he's just like anybody else, only nicer.”
If Fanny had been more than fourteen her mother might have told her that all really great people are like that, finding joy in simple things. I think that is the secret of their genius — the child in them that keeps their viewpoint fresh, and that makes us children again when we listen to them. It is the Schabelitzes of this world who can shout over a toy engine that would bore a Bauer to death.
Fanny stood looking at him thoughtfully. She knew all about him. Theodore's talk of the past week had accomplished that. Fanny knew that here was a man who did one thing better than any one else in the world. She thrilled to that thought. She adored the quality in people that caused them to excel. Schabelitz had got hold of a jack-in-the-box, and each time the absurd head popped out, with its grin and its squawk, he laughed like a boy. Fanny, standing behind the wrapping counter, and leaning on it with her elbows the better to see this great man, smiled too, as her flexible spirit and her mobile mind caught his mood. She did not know she was smiling. Neither did she know why she suddenly frowned in the intensity of her concentration, reached up for one of the pencils on the desk next the wrapping counter, and bent over the topmost sheet of yellow wrapping paper that lay spread out before her. Her tongue-tip curled excitedly at one corner of her mouth. Her head was cocked to one side.
She was rapidly sketching a crude and startling likeness of Levine Schabelitz as he stood there with the ridiculous toy in his hand. It was a trick she often amused herself with at school. She had drawn her school-teacher one day as she had looked when gazing up into the eyes of the visiting superintendent, who was a married man. Quite innocently and unconsciously she had caught the adoring look in the eyes of Miss McCook, the teacher, and that lady, happening upon the sketch later, had dealt with Fanny in a manner seemingly unwarranted. In the same way it was not only the exterior likeness of the man which she was catching now — the pompadour that stood stiffly perpendicular like a brush; the square, yellow peasant teeth; the strong, slender hands and wrists; the stocky figure; the high cheek bones; the square-toed, foreign-looking shoes and the trousers too wide at the instep to have been cut by an American tailor. She caught and transmitted to paper, in some uncanny way, the simplicity of the man who was grinning at the jack-in-the-box that smirked back at him. Behind the veneer of poise and polish born of success and adulation she had caught a glimpse of the Russian peasant boy delighted with the crude toy in his hand. And she put it down eagerly, wetting her pencil between her lips, shading here, erasing there.
Mrs. Brandeis, bustling up to the desk for a customer's change, and with a fancy dish to be wrapped, in her hand, glanced over Fanny's shoulder. She leaned closer. “Why, Fanny, you witch!”
Fanny gave a little crow of delight and tossed her head in a way that switched her short curls back from where they had fallen over her shoulders. “It's like him, isn't it?”
“It looks more like him than he does himself.” With which Molly Brandeis unconsciously defined the art of cartooning.
Fanny looked down at it, a smile curving her lips. Mrs. Brandeis, dish in hand, counted her change expertly from the till below the desk, and reached for the sheet of wrapping paper just beneath that on which Fanny had made her drawing. At that moment Schabelitz, glancing up, saw her, and came forward, smiling, the jack-in-the-box still in his hand.
“Dear lady, I hope I have not entirely disorganized your shop. I have had a most glorious time. Would you believe it, this jack-in-the-box looks exactly — but exactly — like my manager, Weber, when the box-office receipts are good. He grins just — ”
And then his eye fell on the drawing that Fanny was trying to cover with one brown paw. “Hello! What's this?” Then he looked at Fanny. Then he grasped her wrist in his fingers of steel and looked at the sketch that grinned back at him impishly. “Well, I'm damned!” exploded Schabelitz in amusement, and surprise, and appreciation. And did not apologize. “And who is this young lady with the sense of humor?”
“This is my little girl, Fanny.”
He looked down at the rough sketch again, with its clean-cut satire, and up again at the little girl in the school coat and the faded red tam o' shanter, who was looking at him shyly, and defiantly, and provokingly, all at once.
“Your little girl Fanny, h'm? The one who is to give up everything that the boy Theodore may become a great violinist.” He bent again over the crude, effective cartoon, then put a forefinger gently under the child's chin and tipped her glowing face up to the light. “I am not so sure now that it will work. As for its being fair! Why, no! No!”
Fanny waited for her mother that evening, and they walked home together. Their step and swing were very much alike, now that Fanny's legs were growing longer. She was at the backfisch age.
“What did he mean, Mother, when he said that about Theodore being a great violinist, and its not being fair? What isn't fair? And how did he happen to be in the store, anyway? He bought a heap of toys, didn't he? I suppose he's awfully rich.”
“To-night, when Theodore's at the concert, I'll tell you what he meant, and all about it.”
“I'd love to hear him play, wouldn't you? I'd just love to.”
Over Molly Brandeis's face there came a curious look. “You could hear him, Fanny, in Theodore's place. Theodore
