“Oh, no!” said Murchison cheerfully. “That is the way he always howls. That is one of the reasons I have decided to get rid of Fluff. But it is a great deal worse for us than it is for you. The air inlet of our furnace is at the side of the house just where Fluff puts his head when he howls, and the register in our room is right at the head of our bed. So his howl goes in at the inlet and down through the furnace and up the furnace pipes, and is delivered right in our room, just as clear and strong as if he was in the room. That is one reason I have fully decided to get rid of Fluff. It would not be so bad if we had only one register in our house, but we have ten, and when Fluff howls, his voice is delivered by all ten registers, so it is just as if we had ten Fluffs in the house at one time. And ten howls like Fluff's are too much. Even Brownlee says so.” I told Murchison that I agreed with Brownlee perfectly. Fluff had a bad howl. It sounded as if Cruel Fate, with spikes in his shoes, had stepped on Fluff's inmost soul, and then jogged up and down on the tenderest spot, and Fluff was trying to reproduce his feelings in vocal exercises. It sounded like a cheap phonograph giving a symphony in the key of woe minor, with a megaphone attachment and bad places in the record. Judging by his voice, the machine needed a new needle. But the megaphone attachment was all right. Brownlee--who knows all about dogs--said that he knew what was the matter with Fluff. He said Fluff had a very high-grade musical temperament, and that he longed to be the Caruso of dogs. He said that he could see that all through his bright and hopeful puppyhood he had looked forward to being a great singer, with a Wagner repertoire and tremolo stops in his song organ, and that he had early set his aim at perfection. He said Fluff was that kind of a dog, and that when he saw what his voice had turned out to be he was dissatisfied, and became morbid. He said that any dog that had a voice like Fluff's had a right to be dissatisfied with it--he would be dissatisfied himself with that voice. He said he did not wonder that Fluff slunk around all day, feeling he was no good on earth, and that he could understand that when night came and everything was still, so that Fluff could judge of the purity of his tonal quality better, he would pull out his voice, and tune it up and look it over and try it again, hoping it had improved since he tried it last. Brownlee said it never had improved, and that was what made Fluff's howl so mournful--it was full of tears. He said Fluff would go to G flat and B flat and D flat, and so on until he struck a note he felt he was pretty good at, and then he would cling to that note and weep it full of tears. [Illustration: 52]