The Works of Edgar Allan Poe — Volume 5 — John Shaqi
The Works of Edgar Allan Poe — Volume 5Poe, Edgar Allan
General
The Works of Edgar Allan Poe — Volume 5
Poe, Edgar Allan
American fiction -- 19th century; American poetry; Fantasy fiction; Horror tales, American
At this the little old gentleman seemed pleased—God only knows why.
He left his station at the nook of the bridge, limped forward with a
gracious air, took Dammit by the hand and shook it cordially, looking all
the while straight up in his face with an air of the most unadulterated
benignity which it is possible for the mind of man to imagine.
“I am quite sure you will win it, Dammit,” said he, with the frankest of
all smiles, “but we are obliged to have a trial, you know, for the sake of
mere form.”
“Ahem!” replied my friend, taking off his coat, with a deep sigh, tying a
pocket-handkerchief around his waist, and producing an unaccountable
alteration in his countenance by twisting up his eyes and bringing down
the corners of his mouth—“ahem!” And “ahem!” said he again, after a
pause; and not another word more than “ahem!” did I ever know him to say
after that. “Aha!” thought I, without expressing myself aloud—“this
is quite a remarkable silence on the part of Toby Dammit, and is no doubt
a consequence of his verbosity upon a previous occasion. One extreme
induces another. I wonder if he has forgotten the many unanswerable
questions which he propounded to me so fluently on the day when I gave him
my last lecture? At all events, he is cured of the transcendentals.”
“Ahem!” here replied Toby, just as if he had been reading my thoughts, and
looking like a very old sheep in a revery.
The old gentleman now took him by the arm, and led him more into the shade
of the bridge—a few paces back from the turnstile. “My good fellow,”
said he, “I make it a point of conscience to allow you this much run. Wait
here, till I take my place by the stile, so that I may see whether you go
over it handsomely, and transcendentally, and don’t omit any flourishes of
the pigeon-wing. A mere form, you know. I will say ‘one, two, three, and
away.’ Mind you, start at the word ‘away.’” Here he took his position by
the stile, paused a moment as if in profound reflection, then looked up
and, I thought, smiled very slightly, then tightened the strings of his
apron, then took a long look at Dammit, and finally gave the word as
agreed upon—
_One—two—three—and—away!_
Public-domain text, read in full here on John Shaqi.
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