O. Henry - The Complete Works of O. Henry

"And, furthermore," he continued, with a clear, soft light upon his face, "it may interest you to know that from this time on this office will consider that when a survey of land made by virtue of a certificate granted by this state to the men who wrested it from the wilderness and the savage -- made in good faith, settled in good faith, and left in good faith to their children or innocent pur- chasers -- when such a survey, although overrunning its complement, shall call for any natural object visible to the eye of man, to that object it shall hold, and be good and valid. And the children of this state shall lie down to sleep at night, and rumours of disturbers of title shall not disquiet them. For," concluded the Commissioner, "of such is the Kingdom of Heaven."

In the silence that followed, a laugh floated up from the patent-room below. The man who carried down the Denny file was exhibiting it among the clerks.

"Look here," he said, delightedly, "the old man has forgotten his name. He's written 'Patent to original grantee,' and signed it 'Georgia Summerfield, Comr."'

The speech of the Commissioner rebounded lightly from the impregnable Hamlin and Avery. They smiled, rose gracefully, spoke of the baseball team, and argued feelingly that quite a perceptible breeze had Arisen from the east. They lit fresh fat brown cigars, and drifted courteously away. But later they made another tiger- spring for their quarry in the courts. But the courts, according to reports in the papers, "coolly roasted them" (a remarkable performance, suggestive of liquid-air didoes), and sustained the Commissioner's Ruling.

And this Ruling itself grew to be a Precedent, and the Actual Settler framed it, and taught his children to spell from it, and there was sound sleep o' nights from the pines to the sage-brush, and from the chaparral to the great brown river of the north.

But I think, and I am sure the Commissioner never thought otherwise, that whether Kampfer was a snuffy old instrument of destiny, or whether the meanders of the Chiquito accidentally platted themselves into that memo- rable sweet profile or not, there was brought about "some- thing good for a whole lot of children," and the result ought to be called "Georgia's Ruling."

Alas for the man and for the artist with the shifting point of perspective! Life shall be a confusion of ways to the one; the landscape shall rise up and confound the other. Take the case of Lorison. At one time he appeared to himself to be the feeblest of fools; at another he conceived that he followed ideals so fine that the world was not yet ready to accept them. During one mood he cursed his folly; possessed by the other, he bore himself with a serene grandeur akin to greatness: in neither did he attain the perspective.

Generations before, the name had been "Larsen." His race had bequeathed him its fine-strung, melancholy temperament, its saving balance of thrift and industry.

From his point of perspective he saw himself an outcast from society, forever to be a shady skulker along the ragged edge of respectability; a denizen des trois-quartz de monde, that pathetic spheroid lying between the haut and the demi, whose inhabitants envy each of their neigh- bours, and are scorned by both. He was self-condemned to this opinion, as he was self-exiled, through it, to this quaint Southern city a thousand miles from his former home. Here he had dwelt for longer than a year, know- ing but few, keeping in a subjective world of shadows which was invaded at times by the perplexing bulks of jarring realities. Then he fell in love with a girl whom he met in a cheap restaurant, and his story begins.

The Rue Chartres, in New Orleans, is a street of ghosts. It lies in the quarter where the Frenchman, in his prime, set up his translated pride and glory; where, also, the arrogant don had swaggered, and dreamed of gold and grants and ladies' gloves. Every flagstone has its grooves worn by footsteps going royally to the wooing and the fighting. Every house has a princely heartbreak; each doorway its untold tale of gallant promise and slow decay.

By night the Rue Chartres is now but a murky fissure, from which the groping wayfarer sees, flung against the sky, the tangled filigree of Moorish iron balconies. Ths old houses of monsieur stand yet, indomitable against the century, but their essence is gone. The street is one of ghosts to whosoever can see them.

A faint heartbeat of the street's ancient glory still sur- vives in a corner occupied by the Café Carabine d'Or. Once men gathered there to plot against kings, and to warn presidents. They do so yet, but they are not the same kind of men. A brass button will scatter these; those would have set their faces against an army. Above the door hangs the sign board, upon which has been depicted a vast animal of unfamiliar species. In the act of firing upon this monster is represented an unobtrusive human levelling an obtrusive gun, once the colour of bright gold. Now the legend above the picture is faded beyond conjecture; the gun's relation to the title is a matter of faith; the menaced animal, wearied of the long aim of the hunter, has resolved itself into a shapeless blot.

The place is known as "Antonio's," as the name, white upon the red-lit transparency, and gilt upon the windows, attests. There is a promise in "Antonio"; a justifiable expectancy of savoury things in oil and pepper and wine, and perhaps an angel's whisper of garlic. But the rest of the name is "O'Riley." Antonio O'Riley!

The Carabine d'Or is an ignominious ghost of the Rue Chartres. The café where Bienville and Conti dined, where a prince has broken bread, is become a "family ristaurant."

Its customers are working men and women, almost to a unit. Occasionally you will see chorus girls from the cheaper theatres, and men who follow avocations sub- ject to quick vicissitudes; but at Antonio's -- name rich in Bohemian promise, but tame in fulfillment -- manners debonair and gay are toned down to the "family" stand- ard. Should you light a cigarette, mine host will touch you on the "arrum" and remind you that the proprieties are menaced. "Antonio" entices and beguiles from fiery legend without, but "O'Riley" teaches decorum within.

It was at this restaurant that Lorison first saw the girl. A flashy fellow with a predatory eye had followed her in, and had advanced to take the other chair at the little table where she stopped, but Lorison slipped into the seat before him. Their acquaintance began, and grew, and how for two months they had sat at the same table each evening, not meeting by appointment, but as if by a series of fortuitous and happy accidents. After dining, they would take a walk together in one of the little city parks, or among the panoramic markets where exhibits a con- tinuous vaudeville of sights and sounds. Always at eight o'clock their steps led them to a certain street corner, where she prettily but firmly bade him good night and left him. "I do not live far from here," she frequently said, "and you must let me go the rest of the way alone."

But now Lorison had discovered that he wanted to go the rest of the way with her, or happiness would depart, leaving, him on a very lonely corner of life. And at the same time that he made the discovery, the secret of his banishment from the society of the good laid its finger in his face and told him it must not be.

Man is too thoroughly an egoist not to be also an egotist; if he love, the object shall know it. During a lifetime he may conceal it through stress of expediency and honour, but it shall bubble from his dying lips, though it disrupt a neighbourhood. It is known, however, that most men do not wait so long to disclose their passion. In the case of Lorison, his particular ethics positively forbade him to declare his sentiments, but he must needs dally with the subject, and woo by innuendo at least.