Little Masterpieces of American Wit and Humor, Volume I
General
Little Masterpieces of American Wit and Humor, Volume I
American wit and humor
"The bread tree grows abundantly. Its branches are well known to Europe
and America under the familiar name of _maccaroni_. The smaller twigs
are called _vermicelli_. They have a decided animal flavor, as may be
observed in the soups containing them. Maccaroni, being tubular, is the
favorite habitat of a very dangerous insect, which is rendered
peculiarly ferocious by being boiled. The government of the island,
therefore, never allows a stick of it to be exported without being
accompanied by a piston with which its cavity may at any time be
thoroughly swept out. These are commonly lost or stolen before the
maccaroni arrives among us. It, therefore, always contains many of these
insects, which, however, generally die of old age in the shops, so that
accidents from this source are comparatively rare.
"The fruit of the bread tree consists principally of hot rolls. The
buttered-muffin variety is supposed to be a hybrid with the cocoanut
palm, the cream found on the milk of the cocoanut exuding from the
hybrid in the shape of butter, just as the ripe fruit is splitting, so
as to fit it for the tea-table, where it is commonly served up with
cold----"
There--I don't want to read any more of it. You see that many of these
statements are highly improbable. No, I shall not mention the
paper.--_The Autocrat of the Breakfast Table._
MUSIC-POUNDING
The old Master was talking about a concert he had been to hear.
--I don't like your chopped music anyway. That woman--she had more sense
in her little finger than forty medical societies--Florence
Nightingale--says that the music you _pour_ out is good for sick folks,
and the music you _pound_ out isn't. Not that exactly, but something
like it. I have been to hear some music-pounding. It was a young woman,
with as many white muslin flounces round her as the planet Saturn has
rings, that did it. She gave the music-stool a twirl or two and fluffed
down on to it like a whirl of soap-suds in a hand-basin. Then she pushed
up her cuffs as if she was going to fight for the champion's belt. Then
she worked her wrists and her hands, to limber 'em, I suppose, and
spread out her fingers till they looked as though they would pretty much
cover the keyboard, from the growling end to the little squeaky one.
Then those two hands of hers made a jump at the keys as if they were a
couple of tigers coming down on a flock of black-and-white sheep, and
the piano gave a great howl as if its tail had been trod on. Dead
stop--so still you could hear your hair growing. Then another jump, and
another howl, as if the piano had two tails and you had trod on both of
'em at once, and then a grand clatter and scramble and string of jumps,
up and down, back and forward, one hand over the other, like a stampede
of rats and mice more than like anything I call music. I like to hear a
woman sing, and I like to hear a fiddle sing, but these noises they
hammer out of their wood-and-ivory anvils--don't talk to me; I know the
Public-domain text, read in full here on John Shaqi.
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