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AUTHORS O. Henry Frank Stockton Kate Chopin H.H. Munro (SAKI) Nathaniel Hawthorne Ambrose Bierce Anton Chekhov O. Henry Arabian Nights Edited by Ahmet Ünal ÇAM Witches' Loaves by O. Henry Miss Martha Meacham kept the little bakery on the corner (the one where you go up three steps, and the bell tinkles when you open the door). Miss Martha was forty, her bank-book showed a credit of two thousand dollars, and she possessed two false teeth and a sympathetic heart. Many people have married whose chances to do so were much inferior to Miss Martha's. Two or three times a week a customer came in in whom she began to take an interest. He was a middle-aged man, wearing spectacles and a brown beard trimmed to a careful point. He spoke English with a strong German accent. His clothes were worn and darned in places, and wrinkled and baggy in others. But he looked neat, and had very good manners. He always bought two loaves of stale bread. Fresh bread was five cents a loaf. Stale ones were two for five. Never did he call for anything but stale bread. Once Miss Martha saw a red and brown stain on his fingers. She was sure then that he was an artist and very poor. No doubt he lived in a garret, where he painted pictures and ate stale bread and thought of the good things to eat in Miss Martha's bakery. Often when Miss Martha sat down to her chops and light rolls and jam and tea she would sigh, and wish that the gentle-mannered artist might share her tasty meal instead of eating his dry crust in that draughty attic. Miss Martha's heart, as you have been told, was a sympathetic one. The Lady, or the Tiger? by Frank Stockton IN THE very olden time, there lived a semi-barbaric king, whose ideas, though somewhat polished and sharpened by the progressiveness of distant Latin neighbors, were still large, florid, and untrammelled, as became the half of him which was barbaric. He was a man of exuberant fancy, and, withal, of an authority so irresistible that, at his will, he turned his varied fancies into facts. He was greatly given to self-communing; and, when he and himself agreed upon any thing, the thing was done. When every member of his domestic and political systems moved smoothly in its appointed course, his nature was bland and genial; but whenever there was a little hitch, and some of his orbs got out of their orbits, he was blander and more genial still, for nothing pleased him so much as to make the crooked straight, and crush down uneven places.
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H.H. Munro (SAKI)
Ahmet Ünal ÇAM
by O. Henry
Miss Martha Meacham kept the little bakery on the corner (the one where you go up three steps, and the bell tinkles when you open the door).
Miss Martha was forty, her bank-book showed a credit of two thousand dollars, and she possessed two false teeth and a sympathetic heart. Many people have married whose chances to do so were much inferior to Miss Martha's.
Two or three times a week a customer came in in whom she began to take an interest. He was a middle-aged man, wearing spectacles and a brown beard trimmed to a careful point.
He spoke English with a strong German accent. His clothes were worn and darned in places, and wrinkled and baggy in others. But he looked neat, and had very good manners.
He always bought two loaves of stale bread. Fresh bread was five cents a loaf. Stale ones were two for five. Never did he call for anything but stale bread.
Once Miss Martha saw a red and brown stain on his fingers. She was sure then that he was an artist and very poor. No doubt he lived in a garret, where he painted pictures and ate stale bread and thought of the good things to eat in Miss Martha's bakery.
Often when Miss Martha sat down to her chops and light rolls and jam and tea she would sigh, and wish that the gentle-mannered artist might share her tasty meal instead of eating his dry crust in that draughty attic. Miss Martha's heart, as you have been told, was a sympathetic one.
In order to test her theory as to his occupation, she brought from her room one day a painting that she had bought at a sale, and set it against the shelves behind the bread counter.
It was a Venetian scene. A splendid marble palazzio (so it said on the picture) stood in the foreground -- or rather forewater. For the rest there were gondolas (with the lady trailing her hand in the water), clouds, sky, and chiaro-oscuro in plenty. No artist could fail to notice it.
Two days afterward the customer came in.
"Two loafs of stale bread, if you blease.
"You haf here a fine bicture, madame," he said while she was wrapping up the bread.
"Yes?" says Miss Martha, reveling in her own cunning. "I do so admire art and" (no, it would not do to say "artists" thus early) "and paintings," she substituted. "You think it is a good picture?"
"Der balance," said the customer, is not in good drawing. Der bairspective of it is not true. Goot morning, madame."
He took his bread, bowed, and hurried out.
Yes, he must be an artist. Miss Martha took the picture back to her room.
How gentle and kindly his eyes shone behind his spectacles! What a broad brow he had! To be able to judge perspective at a glance -- and to live on stale bread! But genius often has to struggle before it is recognized.
What a thing it would be for art and perspective if genius were backed by two thousand dollars in bank, a bakery, and a sympathetic heart to -- But these were day-dreams, Miss Martha.
Often now when he came he would chat for a while across the showcase. He seemed to crave Miss Martha's cheerful words.
He kept on buying stale bread. Never a cake, never a pie, never one of her delicious Sally Lunns.
She thought he began to look thinner and discouraged. Her heart ached to add something good to eat to his meagre purchase, but her courage failed at the act. She did not dare affront him. She knew the pride of artists.
Miss Martha took to wearing her blue-dotted silk waist behind the counter. In the back room she cooked a mysterious compound of quince seeds and borax. Ever so many people use it for the complexion.
One day the customer came in as usual, laid his nickel on the showcase, and called for his stale loaves. While Miss Martha was reaching for them there was a great tooting and clanging, and a fire-engine came lumbering past.
The customer hurried to the door to look, as any one will. Suddenly inspired, Miss Martha seized the opportunity.
On the bottom shelf behind the counter was a pound of fresh butter that the dairyman had left ten minutes before. With a bread knife Miss Martha made a deep slash in each of the stale loaves, inserted a generous quantity of butter, and pressed the loaves tight again.
When the customer turned once more she was tying the paper around them.
When he had gone, after an unusually pleasant little chat, Miss Martha smiled to herself, but not without a slight fluttering of the heart.
Had she been too bold? Would he take offense? But surely not. There was no language of edibles. Butter was no emblem of unmaidenly forwardness.
For a long time that day her mind dwelt on the subject. She imagined the scene when he should discover her little deception.
He would lay down his brushes and palette. There would stand his easel with the picture he was painting in which the perspective was beyond criticism.
He would prepare for his luncheon of dry bread and water. He would slice into a loaf -- ah!
Miss Martha blushed. Would he think of the hand that placed it there as he ate? Would he --
The front door bell jangled viciously. Somebody was coming in, making a great deal of noise.
Miss Martha hurried to the front. Two men were there. One was a young man smoking a pipe -- a man she had never seen before. The other was her artist.
His face was very red, his hat was on the back of his head, his hair was wildly rumpled. He clinched his two fists and shook them ferociously at Miss Martha. At Miss Martha.
"Dummkopf!" he shouted with extreme loudness; and then "Tausendonfer!" or something like it in German.
The young man tried to draw him away.
"I vill not go," he said angrily, "else I shall told her."
He made a bass drum of Miss Martha's counter.
"You haf shpoilt me," he cried, his blue eyes blazing behind his spectacles. "I vill tell you. You vas von meddingsome old cat!"
Miss Martha leaned weakly against the shelves and laid one hand on her blue-dotted silk waist. The young man took the other by the collar.
"Come on," he said, "you've said enough." He dragged the angry one out at the door to the sidewalk, and then came back.
"Guess you ought to be told, ma'am," he said, "what the row is about. That's Blumberger. He's an architectural draftsman. I work in the same office with him.
"He's been working hard for three months drawing a plan for a new city hall. It was a prize competition. He finished inking the lines yesterday. You know, a draftsman always makes his drawing in pencil first. When it's done he rubs out the pencil lines with handfuls of stale bread crumbs. That's better than India rubber.
"Blumberger's been buying the bread here. Well, to-day -- well, you know, ma'am, that butter isn't -- well, Blumberger's plan isn't good for anything now except to cut up into railroad sandwiches."
Miss Martha went into the back room. She took off the blue-dotted silk waist and put on the old brown serge she used to wear. Then she poured the quince seed and borax mixture out of the window into the ash can.
About the author
O. Henry (1862 - 1910) was born under the name William Sydney Porter in Greensboro, North Carolina in 1862. This Amercian Short Story writer has a rich canon and his short stories are well known throughout the world; noted for their witticism, clever wordplay, and unexpected twist endings.
Like many other writers, O. Henry's early career aspirations were unfocused and he wandered across different activities and professions before he finally found his calling as a short story writer. He started working in his uncle's drugstore in 1879 and became a licensed pharmacist by the age of 19. His first creative expressions came while working in the pharmacy where he would sketch the townspeople that frequented the store. The customers reacted warmly to his drawings and he was admired for his artistry and drawing skills.
O. Henry moved to Texas in March of 1882 hoping to get rid of a persistent cough that he had developed. While there, he took up residence on a sheep ranch, learned shepherding, cooking, babysitting, and bits of Spanish and German from the many migrant farmhands. He had an active social life in Austin and was a fine musician, skilled with the guitar and mandolin. Over the next several years, Porter -- as he was still known -- took a number of different jobs, from pharmacy to drafting, journalism, and banking.
Here's where the twists and turns really started. Banking, in particular, was not to be O. Henry's calling; he was quite careless with his bookkeeping, fired by the bank and charged with embezzlement in 1894. His father-in-law posted bail for him, but he fled the day before the trial in 1896, first to New Orleans, then to Honduras, where there was no extradition treaty. He befriended a notorious train robber there, Al Jennings, who later wrote a book about their friendship. O. Henry sent his wife and daughter back to Texas, after which he holed up in a hotel to write Kings and Cabbages. He learned his wife was dying of tuberculosis and could not join him in Honduras, so he returned to Austin to be with them and turned himself in to the court. His father-in-law again posted his bail so he could remain with his wife until her death in 1897. We was sentenced and served in Federal prison in Ohio for five years from 1989-1902. During his jail time, he returned to practicing pharmacy and had a room in the hospital, never having to live in a cell.
O. Henry was always a lover of classic literature, and while pursuing his many ventures, O. Henry had begun writing as a hobby. When he lost his banking position he moved to Houston in 1895 and started writing for the The Post, earning $25 per month (an average salary at this time in American history was probably about $300 a year, less than a dollar a day). O. Henry collected ideas for his column by loitering in hotel lobbies and observing and talking to people there. He relied on this technique to gain creative inspiration throughout his writing career; which is a fun fact to keep in mind while reading an imaginative masterpiece of a story like Transients in Arcadia. The many twists and turns of his own life, including his travels in Latin America and time spent in prison, clearly inspired his stories' twists and wordplay.
O. Henry's prolific writing period began in 1902 in New York City, where he wrote 381 short stories. He wrote one story a week for The New York World Sunday Magazinefor over a year. Some of his best and least known work is contained in Cabbages and Kings, his first collection of published stories, set in a central American town, in which sub-plots and larger plots are interwoven in an engaging manner. His second collection of stories, The Four Million, was released in 1906. The stories are set in New York City, and the title is based on the population of the city at that time. The collection contained several short story masterpieces, including The Gift of the Magi, The Cop and the Anthem, and many others. Henry had an obvious affection for New York City, a reverence that rises up through some of these stories.
O. Henry's trademark is his witty, plot-twisting endings, and his warm characterization of the awkward and difficult situations and the creative ways people find to resolve them. His most famous short story, The Gift of the Magi, epitomizes his style. It's a story about a young married couple, short on money, who wish to buy each other Christmas gifts. That problem -- their lack of funds -- finds a famously endearing and ironic resolution.
The Cop and the Anthem is about A New York City hobo with a creative solution for dealing with the cold city streets during winter. Another story, A Retrieved Reformation, is about a safecracker Jimmy Valentine, fresh from prison, whose life takes an unexpected turn while casing his next crime scene. The Ransom of Red Chief, a story about two hapless kidnappers that snatch the wrong boy. All of these stories are highly entertaining and they are read for pleasure and used in classrooms around the world.
In 1952 Marilyn Monroe and Charles Laughton starred in O. Henry's Full House, a film featuring five stories of O. Henry's short stories. The film included The Cop and the Anthem and four other O. Henry stories: The Clarion Call, The Last Leaf, The Ransom of Red Chief (starring Fred Allen and Oscar Levant), and The Gift of the Magi.
Unfortunately, O. Henry's personal tragedy was heavy drinking and by 1908 his health had deteriorated and his writing dropped off accordingly. He died in 1910 of cirrhosis of the liver, complications of diabetes, and an enlarged heart. The funeral was held in New York City, but he was buried in North Carolina, the state where he was born. He was a gifted short story writer and left us a rich legacy of great stories to enjoy.
The Lady, or the Tiger?
by Frank Stockton
IN THE very olden time, there lived a semi-barbaric king, whose ideas, though somewhat polished and sharpened by the progressiveness of distant Latin neighbors, were still large, florid, and untrammelled, as became the half of him which was barbaric. He was a man of exuberant fancy, and, withal, of an authority so irresistible that, at his will, he turned his varied fancies into facts. He was greatly given to self-communing; and, when he and himself agreed upon any thing, the thing was done. When every member of his domestic and political systems moved smoothly in its appointed course, his nature was bland and genial; but whenever there was a little hitch, and some of his orbs got out of their orbits, he was blander and more genial still, for nothing pleased him so much as to make the crooked straight, and crush down uneven places.
Among the borrowed notions by which his barbarism had become semified was that of the public arena, in which, by exhibitions of manly and beastly valor, the minds of his subjects were refined and cultured.
But even here the exuberant and barbaric fancy asserted itself. The arena of the king was built, not to give the people an opportunity of hearing the rhapsodies of dying gladiators, nor to enable them to view the inevitable conclusion of a conflict between religious opinions and hungry jaws, but for purposes far better adapted to widen and develop the mental energies of the people. This vast amphitheatre, with its encircling galleries, its mysterious vaults, and its unseen passages, was an agent of poetic justice, in which crime was punished. Or virtue rewarded, by the decrees of an impartial and incorruptible chance.
When a subject was accused of a crime of sufficient importance to interest the king, public notice was given that on an appointed day the fate of tile accused person would be decided in the king's arena,--a structure which well deserved its name; for, although its form and plan were borrowed -from afar, its purpose emanated solely from the brain of this man, who, every barleycorn a king, knew no tradition to which he owed more allegiance than pleased his fancy, and who ingrafted on every adopted form of human thought and action the rich growth of his barbaric idealism.
When all the people had assembled in the galleries, and the king, surrounded by his court, sat high up on his throne of royal state on one side of the arena, he gave a signal, a door beneath him opened, and the accused subject stepped out into the amphitheatre. Directly opposite him, on the other side of the enclosed space, were two doors, exactly alike and side by side. It was the duty and the privilege of the person on trial, to walk directly to these doors and open one of them. He could open either door he pleased: he was subject to no guidance or influence but that of the aforementioned impartial and incorruptible chance. If he opened the one, there came out of it a hungry tiger, the fiercest and most cruel that could be procured, which immediately sprang upon him, and tore him to pieces, as a punishment for his guilt. The moment that the case of the criminal was thus decided, doleful iron bells were clanged, great wails went up from the hired mourners posted on the outer rim of the arena, and the vast audience, with bowed heads and downcast hearts, wended slowly their homeward way, mourning greatly that one so young and fair, or so old and respected, should have merited so dire a fate.
But, if the accused person opened the other door, there came forth from it a lady, the most suitable to his years and station that his majesty could select among his fair subjects; and to this lady he was immediately married, as a reward of his innocence. It mattered not that he might already possess a wife and family, or that his affections might be engaged upon an object of his own selection: the king allowed no such subordinate arrangements to interfere with his great scheme of retribution and reward. The exercises, as in the other instance, took place immediately, and in the arena. Another door opened beneath the king, and a priest, followed by a band of choristers' and dancing maidens blowing joyous airs on golden horns and treading an measure, advanced to where the pair stood side by side; and the wedding was promptly and cheerily solemnized. Then the gay brass bells rang forth their merry peals, the people shouted glad hurrahs, and the innocent man, preceded by children strewing flowers on his path, led his bride to his home.
This was the king's semi-barbaric method of administering justice. Its perfect fairness is obvious. The criminal could not know out of which door would come the lady: he opened either he pleased, without having the slightest idea whether, in the next instant, he was to be devoured or married. On some occasions the tiger came out of one door, and on some out of the other. The decisions of this tribunal were not only fair, they were positively determinate: the accused person was instantly punished if he found himself guilty; and, if innocent, he was rewarded on the spot, whether he liked it or not. There was no escape from the judgments or the king's arena.
The institution was a very popular one. When the people gathered together on one of the great trial days, they never knew whether they were to witness a bloody slaughter or a hilarious wedding. This element of uncertainty lent an interest to the occasion which it could not otherwise have attained. Thus, the masses were entertained and pleased, and the thinking part of the community could bring no charge of unfairness against this plan; for did not the accused person have the whole matter in his own hands?
This semi-barbaric king had a daughter as blooming as his most florid fancies, and with a soul as fervent and imperious as his own. As is usual in such cases, she was the apple of his eye, and was loved by him above all humanity. Among his courtiers was a young man of that fineness of blood and lowness of station common to the conventional heroes of romance who love royal maidens. This royal maiden was well satisfied with her lover, for he was handsome and brave to a degree unsurpassed in all this kingdom; and she loved him with an ardor that had enough of barbarism in it to make it exceedingly warm and strong. This love affair moved on happily for many months, until one day the king happened to discover its existence. He did not hesitate nor waver in regard to his duty in the premises. The youth was immediately cast into prison, and a day was appointed for his trial in the king's arena. This, of course, was an especially important occasion; and his majesty, as well as all the people, was greatly interested in the workings and development of this trial.
Never before had such a case occurred; never before had a subject dared to love the daughter of a king. In after-years such things became commonplace enough; but then they were, in no slight degree, novel and startling.
The tiger-cages of the kingdom were searched for the most savage and relentless beasts, from which the fiercest monster might be selected for the arena; and the ranks of maiden youth and beauty throughout the land were carefully surveyed by competent judges, in order that he, young man, might have a fitting bride in case fate did not determine for him a different destiny. Of course, everybody knew that the deed with which the accused was charged had been done. He had loved the princess, and neither he, she, nor any one else thought of denying the fact; but the king would not think of allowing any fact of this kind to interfere with the workings of the tribunal, in which he took such great delight and satisfaction. No matter how the affair turned out, the youth would be disposed of; and the king would take an aesthetic pleasure in watching the course of events, which would determine whether or not the young man had done wrong in allowing himself to love the princess.
The appointed day arrived. From far and near the people gathered, and thronged the great galleries of the arena; and crowds, unable to gain admittance, massed themselves against its outside walls. The king and his court were in their places, opposite the twin doors,--those fateful portals, so terrible in their similarity.
All was ready. The signal was given. A door beneath the royal party opened, and the lover of the princess walked into the arena. Tall, beautiful, fair, his appearance was greeted with a low hum of admiration and anxiety. Half the audience had not known so grand a youth had lived among them. No wonder the princess loved him! What a terrible thing for him to be there!
As the youth advanced into the arena, he turned, as the custom was, to bow to the king: but he did not think at all of that royal personage; his eyes were fixed upon the princess, who sat to the right of her father. Had it not been for the moiety of barbarism in her nature, it is probable that lady would not have been there; but her intense and fervid soul would not allow her to be absent on an occasion in which she was so terribly interested. From the moment that the decree had gone forth, that her lover should decide his fate in the king's arena, she had thought of nothing, night or day, but this great event and the various subjects connected with it. Possessed of more power, influence, and force of character than any one who had ever before been interested in such a case, she had done what no other person had done,--she had possessed herself of the secret of the doors. She knew in which of the two rooms, that lay behind those doors, stood the cage of the tiger, with its open front, and in which waited the lady. Through these thick doors, heavily curtained with skins on the inside, it was impossible that any noise or suggestion should come from within to the person who should approach to raise the latch of one of them; but gold, and the power of a woman's will, had brought the secret to the princess.
And not only did she know in which room stood the lady ready to emerge, all blushing and radiant, should her door be opened, but she knew who the lady was. It was one of tile fairest and loveliest of the damsels of the court who had been selected as the reward of the accused youth, should he be proved innocent of the crime of aspiring to one so far above him; and the princess hated her. Often had she seen, or imagined that she had seen, this fair creature throwing glances of admiration upon the person of her lover, and sometimes she thought these glances were perceived and even returned. Now and then she had seen them talking together; it was but for a moment or two, but much can be said in a brief space; it may have been on most unimportant topics, but how could she know that? The girl was lovely, but she had dared to raise her eyes to the loved one of the princess; and, with all the intensity of the savage blood transmitted to her through long lines of wholly barbaric ancestors, she hated the woman who blushed and trembled behind that silent door.
When her lover turned and looked at her, and his eye met hers as she sat there paler and whiter than any one in the vast ocean of anxious faces about her, he saw, by that power of quick perception which is given to those whose souls are one, that she knew behind which door crouched the tiger, and behind which stood the lady. He had expected her to know it. He understood her nature, and his soul was assured that she would never rest until she had made plain to herself this thing, hidden to all other lookers-on, even to the king. The only hope for the youth in which there was any element of certainty was based upon the success of the princess in discovering this mystery; and the moment he looked upon her, he saw she had succeeded, as in his soul he knew she would succeed.
Then it was that his quick and anxious glance asked the question: "Which?" It was as plain to her as if he shouted it from where he stood. There was not an instant to be lost. The question was asked in a Rash; it must be answered in another.
Her right arm lay on the cushioned parapet before her. She raised her hand, and made a slight, quick movement toward the right. No one but her lover saw her. Every eye but his was fixed on the man in the arena.
He turned, and. with a firm and rapid step he walked across the empty space. Every heart stopped beating, every breath was held, every eye was fixed immovably upon that man. Without the slightest hesitation, he went to the door on the right, and opened it.
Now, the point of the story is this: Did the tiger come out of that door, or did the lady?
The more we reflect upon this question, the harder it is to answer. It involves a study of the human heart which leads us through devious mazes of passion, out of which it is difficult to find our way. Think of it, fair reader, not as if the decision of the question depended upon yourself, but upon that hot-blooded, semi-barbaric princess, her soul at a white heat beneath the combined fires of despair and jealousy. She had lost him, but who should have him?
How often, in her waking hours and in her dreams, had she started in wild horror, and covered her face with her hands, as she thought of her lover opening the door on the other side of which waited the cruel fangs of the tiger!
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