Fresh Every Hour: Detailing the Adventures, Comic and Pathetic of One Jimmy Martin, Purveyor of Publicity, a Young Gentleman Possessing Sublime Nerve, Whimsical Imagination, Colossal Impudence, and, Withal, the Heart of a Child.Toohey, John Peter
General
Fresh Every Hour: Detailing the Adventures, Comic and Pathetic of One Jimmy Martin, Purveyor of Publicity, a Young Gentleman Possessing Sublime Nerve, Whimsical Imagination, Colossal Impudence, and, Withal, the Heart of a Child.
Toohey, John Peter
Press agents -- Fiction
“Say, old scout,” he finally managed to remark. “I’m almost down for the
count. You talk like an encyclopedia. You’ll have ’em all pop-eyed when
you pull that stuff. The harder it is to understand the harder they’ll
fall. You’re there, George B. Bookworm, you’re there. I can see ’em
passin’ flowers over the footlights already.”
J. Herbert, appreciating the sincerity of Jimmy’s enthusiastic approval,
blushed a little and tried to appear at ease, but it was a difficult
task. The two strolled out on the darkened stage and stood in the wings
watching the unfolding of the final scene of the second act in which the
Maharajah of Rumpore returned unexpectedly, with his followers, from a
tiger-hunting expedition to find his favorite wife in the arms of the
villainous Begum of Baroda.
They found themselves suddenly wedged in the center of a crowd of male
supernumeraries who had come clattering down the stairs leading from the
dressing rooms, accoutered in ancient armour and ready for participation
in the stirring episode which was to bring the act to a close. Most of
these “extra people,” that being their classification in the world of
the theatre, were the usual assortment of shiftless idlers who eke out a
precarious existence by doing such odd jobs on the stage and whose
Oriental aspect was purely a matter of simulation. There were, however,
a number of genuine East Indians among them, random visitors from an
alien clime picked up here and there and utilized to give an added air
of verisimilitude to the ensemble scenes.
One of these latter, a handsome chap under thirty, whose skin was the
color of strong coffee diluted with rich cream and whose features had
the classic regularity of a Grecian sculptured head, brushed against
Jimmy’s elbow and apologized profusely.
“I am very much sorry if I have caused myself to discommode you,” he
murmured, smiling pleasantly and revealing a row of teeth of dazzling
whiteness.
“That’s all right,” replied Jimmy, looking at him in surprise. “You’re a
regular, I see. You don’t belong to the volunteers.”
“No, sahib, I am from the East. I am long distance from home-land of my
fathers, if that is what you mean.”
Jimmy looked at him with new interest. He had an air about him, an
indefinable air of distinction that attracted the attention of even the
aesthetic J. Herbert Denby, who edged closer and entered the
conversation.
“Your English is excellent,” he remarked. “You have perhaps studied in
one of our universities?”
“No, sahib, not here—in Oxford. I have been in this country but a few
months. Life has been a difficult problem here in this great democracy,
but I am a fatalist, sahib, and I do not make myself uneasiness as to
the future. It is useless for it is written already on the scrolls of
time.”
The next instant he swept forward on to the stage with the others in
response to a signal from the stage manager who was peering through a
small hole in the scenery.
Public-domain text, read in full here on John Shaqi.
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