The greetings of the other cities he had known—their homespun kindliness, their human gamut of rough charity, friendly curses, garrulous curiosity and easily estimated credulity or indifference. This city of Manhattan gave him no clue; it was walled against him. Like a river of adamant it flowed past him in the streets. Never an eye was turned upon him; no voice spoke to him. His heart yearned for the clap of Pittsburg's sooty hand on his shoulder; for Chicago's menacing but social yawp in his ear; for the pale and eleemosynary stare through the Bostonian eyeglass—even for the precipitate but unmalicious boot–toe of Louisville or St. Louis.
On Broadway Raggles, successful suitor of many cities, stood, bashful, like any country swain. For the first time he experienced the poignant humiliation of being ignored. And when he tried to reduce this brilliant, swiftly changing, ice–cold city to a formula he failed utterly. Poet though he was, it offered him no color similes, no points of comparison, no flaw in its polished facets, no handle by which he could hold it up and view its shape and structure, as he familiarly and often contemptuously had done with other towns. The houses were interminable ramparts loopholed for defense; the people were bright but bloodless spectres passing in sinister and selfish array.
The thing that weighed heaviest on Raggles's soul and clogged his poet's fancy was the spirit of absolute egotism that seemed to saturate the people as toys are saturated with paint. Each one that he considered appeared a monster of abominable and insolent conceit. Humanity was gone from them; they were toddling idols of stone and varnish, worshipping themselves and greedy for though oblivious of worship from their fellow graven images. Frozen, cruel, implacable, impervious, cut to an identical pattern, they hurried on their ways like statues brought by some miracles to motion, while soul and feeling lay unaroused in the reluctant marble.
Gradually Raggles became conscious of certain types. One was an elderly gentleman with a snow–white, short beard, pink, unwrinkled face and stony, sharp blue eyes, attired in the fashion of a gilded youth, who seemed to personify the city's wealth, ripeness and frigid unconcern. Another type was a woman, tall, beautiful, clear as a steel engraving, goddess–like, calm, clothed like the princesses of old, with eyes as coldly blue as the reflection of sunlight on a glacier. And another was a by–product of this town of marionettes—a broad, swaggering, grim, threateningly sedate fellow, with a jowl as large as a harvested wheat field, the complexion of a baptized infant and the knuckles of a prize–fighter. This type leaned against cigar signs and viewed the world with frappéd contumely.
A poet is a sensitive creature, and Raggles soon shrivelled in the bleak embrace of the undecipherable. The chill, sphinx–like, ironical, illegible, unnatural, ruthless expression of the city left him downcast and bewildered. Had it no heart? Better the woodpile, the scolding of vinegar–faced housewives at back doors, the kindly spleen of bartenders behind provincial free–lunch counters, the amiable truculence of rural constables, the kicks, arrests and happy–go–lucky chances of the other vulgar, loud, crude cities than this freezing heartlessness.
Raggles summoned his courage and sought alms from the populace. Unheeding, regardless, they passed on without the wink of an eyelash to testify that they were conscious of his existence. And then he said to himself that this fair but pitiless city of Manhattan was without a soul; that its inhabitants were manikins moved by wires and springs, and that he was alone in a great wilderness.
Raggles started to cross the street. There was a blast, a roar, a hissing and a crash as something struck him and hurled him over and over six yards from where he had been. As he was coming down like the stick of a rocket the earth and all the cities thereof turned to a fractured dream.
Raggles opened his eyes. First an odor made itself known to him—an odor of the earliest spring flowers of Paradise. And then a hand soft as a falling petal touched his brow. Bending over him was the woman clothed like the princess of old, with blue eyes, now soft and humid with human sympathy. Under his head on the pavement were silks and furs. With Raggles's hat in his hand and with his face pinker than ever from a vehement burst of oratory against reckless driving, stood the elderly gentleman who personified the city's wealth and ripeness. From a nearby café hurried the by–product with the vast jowl and baby complexion, bearing a glass full of a crimson fluid that suggested delightful possibilities.
«Drink dis, sport,» said the by–product, holding the glass to Raggles's lips.
Hundreds of people huddled around in a moment, their faces wearing the deepest concern. Two flattering and gorgeous policemen got into the circle and pressed back the overplus of Samaritans. An old lady in a black shawl spoke loudly of camphor; a newsboy slipped one of his papers beneath Raggles's elbow, where it lay on the muddy pavement. A brisk young man with a notebook was asking for names.
A bell clanged importantly, and the ambulance cleaned a lane through the crowd. A cool surgeon slipped into the midst of affairs.
«How do you feel, old man?» asked the surgeon, stooping easily to his task. The princess of silks and satins wiped a red drop or two from Raggles's brow with a fragrant cobweb.
«Me?» said Raggles, with a seraphic smile, «I feel fine.»
He had found the heart of his new city.
In three days they let him leave his cot for the convalescent ward in the hospital. He had been in there an hour when the attendants heard sounds of conflict. Upon investigation they found that Raggles had assaulted and damaged a brother convalescent—a glowering transient whom a freight train collision had sent in to be patched up.
«What's all this about?» inquired the head nurse.
«He was runnin' down me town,» said Raggles.
«What town?» asked the nurse.
«Noo York,» said Raggles.
VANITY AND SOME SABLES
When «Kid» Brady was sent to the rope by Molly McKeever's blue–black eyes he withdrew from the Stovepipe Gang. So much for the power of a colleen's blanderin' tongue and stubborn true–heartedness. If you are a man who read this, may such an influence be sent you before 2 o'clock to–morrow; if you are a woman, may your Pomeranian greet you this morning with a cold nose—a sign of doghealth and your happiness.
The Stovepipe Gang borrowed its name from a sub–district of the city called the «Stovepipe,» which is a narrow and natural extension of the familiar district known as «Hell's Kitchen.» The «Stovepipe» strip of town runs along Eleventh and Twelfth avenues on the river, and bends a hard and sooty elbow around little, lost homeless DeWitt Clinton park. Consider that a stovepipe is an important factor in any kitchen and the situation is analyzed. The chefs in «Hell's Kitchen» are many, and the «Stovepipe» gang, wears the cordon blue.
The members of this unchartered but widely known brotherhood appeared to pass their time on street corners arrayed like the lilies of the conservatory and busy with nail files and penknives. Thus displayed as a guarantee of good faith, they carried on an innocuous conversation in a 200–word vocabulary, to the casual observer as innocent and immaterial as that heard in clubs seven blocks to the east.
But off exhibition the «Stovepipes» were not mere street corner ornaments addicted to posing and manicuring. Their serious occupation was the separating of citizens from their coin and valuables. Preferably this was done by weird and singular tricks without noise or bloodshed; but whenever the citizen honored by their attentions refused to impoverish himself gracefully his objections came to be spread finally upon some police station blotter or hospital register.