The shoemaker : $b A powerful picture of nature, adapted from Hal Reid's famous drama of the same name — John Shaqi
The shoemaker : $b A powerful picture of nature, adapted from Hal Reid's famous drama of the same nameHarper, Olive
General
The shoemaker : $b A powerful picture of nature, adapted from Hal Reid's famous drama of the same name
Harper, Olive
Abduction -- Fiction; Fathers and daughters -- Fiction; Shoemakers -- Fiction; West (U.S.) -- Fiction
“Yes, papa,” said Dora, looking sympathetically at the unfortunate
woman, “call me if you want me.”
The shoemaker looked at Dora, then in her girlish grace and purity, and
then at the poor creature on the bench, and held out his arm to Dora.
“Come here, mein child. Kiss de fader. If anyt’ing shall efer happen to
you, mein daughter--dot vould kill your fader!”
“But nothing--like this--will ever happen to me, father,” said Dora,
kissing him fondly and smiling at him bravely.
“Dot’s de mudder’s eyes looking at me, Dora--de eyes of your mudder,
vot is now dead--there,” he added, with a sob, “run along mit Loney
and play pinochle.”
Dora and Loney ran out of the shop, smiling back at the shoemaker, who
turned to the now weeping woman, saying:
“They have gone now.”
“What I have to say will not take long. I was a wife--an honest wife.
My husband deserted me for another woman, robbed me of my child and
left me to die alone. He had taught me to take an occasional drink,
saying that my health required it. In my trouble I turned to it, and
before I realized it--well--it has brought me to this.”
“Vell, don’t you t’ink it has brought you far enough? If you go much
farder you vill fall ofer. Vy don’t you quit?”
“Look at me,” said Helen, showing her shaking hand. “See my hand
shaking like an aspen. I am all but dead, and the craving for that
awful stuff is eating out my vitals. Quit! Quit! Don’t you see it is
too late, too late!”
“Vy are you talking--it is only half-past eight. Look, mein poor
vomans. Read you dot sign of mein.”
Saying these last words, the poor shoemaker pointed to an illuminated
card hung against the wall, and Helen slowly rose and looked at it,
reading aloud:
“It is never too late to mend.”
“Dot’s right. It is nefer too late to mend an olt shoe, nor der human
heart--neider von.”
[Illustration: “IT’S NEVER TOO LATE TO MEND”]
“Do you think that is true, Mister? Is there any hope for a battered
wreck like me?”
“As true dot ve stant here lifing, dere is always hope, always. Dit not
Gott pring vater for Israel from der dry rock of Horeb? Dit Gott not
sent quail in der vilderness? Is Gott’s great arm come veak? No, it is
yust so strong as effer it vos. Vot you vant is to go far from here
and pegin all ofer again vere no one knows you. Here is death, dere is
safeness, hope, a new life--a petter von.”
“How am I to get there? All I have are these few rags, this shattered
body, and the fragments of a woman’s broken heart.”
As the poor creature sobbed out these words, Loney came quietly into
the room, and as he heard them the child knelt silently behind the
bench and folded his thin hands in prayer unobserved.
Morris stood a moment silent, and then he said, solemnly:
“In the name of my dead vife, and of mein lifing child, I vill help you
to go, if you vill promise me dot you will nefer drink again.”
Public-domain text, read in full here on John Shaqi.
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