The Jungle Man

.. most part, she sits gazing with the same fearful eyes of wonder. Teta Elzbieta is all in a flutter, like a hummingbird; her sisters, too, keep running up behind her, whispering, breathless. But Ona seems scarcely to hear them the music keeps calling, and the far-off look comes back, and she sits with her hands pressed together over her heart. Then the tears begin to come into her eyes; and as she is ashamed to wipe them away, and ashamed to let them run down her cheeks, she turns and shakes her head a little, and then flushes red when she sees that Jurgis is watching her.

When in the end Tamoszius Kuszleika has reached her side, and is waving his magic wand above her, Ona’s cheeks are scarlet, and she looks as if she would have to get up and run away. In this crisis, however, she is saved by Marija Berczynskas, whom the muses suddenly visit. Marija is fond of a song, a song of lovers’ parting; she wishes to hear it, and, as the musicians do not know it, she has risen, and is proceeding to teach them. Marija is short, but powerful in build. She works in a canning factory, and all day long she handles cans of beef that weigh fourteen pounds. She has a broad Slavic face, with prominent red cheeks.

We Will Write a Custom Essay Specifically
For You For Only $13.90/page!


order now

When she opens her mouth, it is tragical, but you cannot help thinking of a horse. She wears a blue flannel shirt-waist, which is now rolled up at the sleeves, disclosing her brawny arms; she has a carving fork in her hand, with which she pounds on the table to mark the time. As she roars her song, in a voice of which it is enough to say that it leaves no portion of the room vacant, the three musicians follow her, laboriously and note by note, but averaging one note behind; thus they toil through stanza after stanza of a lovesick swain’s lamentation: Sudiev’ kvietkeli, tu brangiausis; Sudiev’ ir laime, man biednam, Matau paskyre teip Aukszcziausis, Jog vargt ant svieto reik vienam! When the song is over, it is time for the speech, and old Dede Antanas rises to his feet. Grandfather Anthony, Jurgis’ father, is not more than sixty years of age, but you would think that he was eighty. He has been only six months in America, and the change has not done him good.

In his manhood he worked in a cotton mill, but then a coughing fell upon him, and he had to leave; out in the country the trouble disappeared, but he has been working in the pickle rooms at Durham’s, and the breathing of the cold, damp air all day has brought it back. Now as he rises he is seized with a coughing fit, and holds himself by his chair and turns away his wan and battered face until it passes. Generally it is the custom for the speech at a veselija to be taken out of one of the books and learned by heart; but in his youthful days Dede Antanas used to be a scholar, and really make up all the love letters of his friends. Now it is understood that he has composed an original speech of congratulation and benediction, and this is one of the events of the day. Even the boys, who are romping about the room, draw near and listen, and some of the women sob and wipe their aprons in their eyes.

It is very solemn, for Antanas Rudkus has become possessed of the idea that he has not much longer to stay with his children. His speech leaves them all so tearful that one of the guests, Jokubas Szedvilas, who keeps a delicatessen store on Halsted Street, and is fat and hearty, is moved to rise and say that things may not be as bad as that, and then to go on and make a little speech of his own, in which he showers congratulations and prophecies of happiness upon the bride and groom, proceeding to particulars which greatly delight the young men, but which cause Ona to blush more furiously than ever. Jokubas possesses what his wife complacently describes as poetiszka vaidintuve a poetical imagination. Now a good many of the guests have finished, and, since there is no pretense of ceremony, the banquet begins to break up. Some of the men gather about the bar; some wander about, laughing and singing; here and there will be a little group, chanting merrily, and in sublime indifference to the others and to the orchestra as well.

Everybody is more or less restless one would guess that something is on their minds. And so it proves. The last tardy diners are scarcely given time to finish, before the tables and the debris are shoved into the corner, and the chairs and the babies piled out of the way, and the real celebration of the evening begins. Then Tamoszius Kuszleika, after replenishing himself with a pot of beer, returns to his platform, and, standing up, reviews the scene; he taps authoritatively upon the side of his violin, then tucks it carefully under his chin, then waves his bow in an elaborate flourish, and finally smites the sounding strings and closes his eyes, and floats away in spirit upon the wings of a dreamy waltz. His companion follows, but with his eyes open, watching where he treads, so to speak; and finally Valentinavyczia, after waiting for a little and beating with his foot to get the time, casts up his eyes to the ceiling and begins to saw Broom! broom! broom! The company pairs off quickly, and the whole room is soon in motion. Apparently nobody knows how to waltz, but that is nothing of any consequence there is music, and they dance, each as he pleases, just as before they sang.

Most of them prefer the two-step, especially the young, with whom it is the fashion. The older people have dances from home, strange and complicated steps which they execute with grave solemnity. Some do not dance anything at all, but simply hold each other’s hands and allow the undisciplined joy of motion to express itself with their feet. Among these are Jokubas Szedvilas and his wife, Lucija, who together keep the delicatessen store, and consume nearly as much as they sell; they are too fat to dance, but they stand in the middle of the floor, holding each other fast in their arms, rocking slowly from side to side and grinning seraphically, a picture of toothless and perspiring ecstasy. Of these older people many wear clothing reminiscent in some detail of home an embroidered waistcoat or stomacher, or a gaily colored handkerchief, or a coat with large cuffs and fancy buttons. All these things are carefully avoided by the young, most of whom have learned to speak English and to affect the latest style of clothing.

The girls wear ready-made dresses or shirt waists, and some of them look quite pretty. Some of the young men you would take to be Americans, of the type of clerks, but for the fact that they wear their hats in the room. Each of these younger couples affects a style of its own in dancing. Some hold each other tightly, some at a cautious distance. Some hold their hands out stiffly, some drop them loosely at their sides.

Some dance springily, some glide softly, some move with grave dignity. There are boisterous couples, who tear wildly about the room, knocking every one out of their way. There are nervous couples, whom these frighten, and who cry, Nusfok! Kas yra? at them as they pass. Each couple is paired for the evening you will never see them change about. There is Alena Jasaityte, for instance, who has danced unending hours with Juozas Raczius, to whom she is engaged.

Alena is the beauty of the evening, and she would be really beautiful if she were not so proud. She wears a white shirtwaist, which represents, perhaps, half a week’s labor painting cans. She holds her skirt with her hand as she dances, with stately precision, after the manner of the grandes dames. Juozas is driving one of Durham’s wagons, and is making big wages. He affects a tough aspect, wearing his hat on one side and keeping a cigarette in his mouth all the evening. Then there is Jadvyga Marcinkus, who is also beautiful, but humble.

Jadvyga likewise paints cans, but then she has an invalid mother and three little sisters to support by it, and so she does not spend her wages for shirtwaists. Jadvyga is small and delicate, with jet-black eyes and hair, the latter twisted into a little knot and tied on the top of her head. She wears an old white dress which she has made herself and worn to parties for the past five years; it is high-waisted almost under her arms, and not very becoming, but that does not trouble Jadvyga, who is dancing with her Mikolas. She is small, while he is big and powerful; she nestles in his arms as if she would hide herself from view, and leans her head upon his shoulder. He in turn has clasped his arms tightly around her, as if he would carry her away; and so she dances, and will dance the entire evening, and would dance forever, in ecstasy of bliss.

You would smile, perhaps, to see them but you would not smile if you knew all the story. This is the fifth year, now, that Jadvyga has been engaged to Mikolas, and her heart is sick. They would have been married in the beginning, only Mikolas has a father who is drunk all day, and he is the only other man in a large family. Even so they might have managed it (for Mikolas is a skilled man) but for cruel accidents which have almost taken the heart out of them. He is a beef-boner, and that is a dangerous trade, especially when you are on piecework and trying to earn a bride.

Your hands are slippery, and your knife is slippery, and you are toiling like mad, when somebody happens to speak to you, or you strike a bone. Then your hand slips up on the blade, and there is a fearful gash. And that would not be so bad, only for the deadly contagion. The cut may heal, but you never can tell. Twice now; within the last three years, Mikolas has been lying at home with blood poisoning once for three months and once for nearly seven.

The last time, too, he lost his job, and that meant six weeks more of standing at the doors of the packing houses, at six o’clock on bitter winter mornings, with a foot of snow on the ground and more in the air. There are learned people who can tell you out of the statistics that beef-boners make forty cents an hour, but, perhaps, these people have never looked into a beef-boner’s hands. When Tamoszius and his companions stop for a rest, as perforce they must, now and then, the dancers halt where they are and wait patiently. They never seem to tire; and there is no place for them to sit down if they did. It is only for a minute, anyway, for the leader starts up again, in spite of all the protests of the other two.

This time it is another sort of a dance, a Lithuanian dance. Those who prefer to, go on with the two-step, but the majority go through an intricate series of motions, resembling more fancy skating than a dance. The climax of it is a furious prestissimo, at which the couples seize hands and begin a mad whirling. This is quite irresistible, and every one in the room joins in, until the place becomes a maze of flying skirts and bodies quite dazzling to look upon. But the sight of sights at this moment is Tamoszius Kuszleika.

The old fiddle squeaks and shrieks in protest, but Tamoszius has no mercy. The sweat starts out on his forehead, and he bends over like a cyclist on the last lap of a race. His body shakes and throbs like a runaway steam engine, and the ear cannot follow the flying showers of notes there is a pale blue mist where you look to see his bowing arm. With a most wonderful rush he comes to the end of the tune, and flings up his hands and staggers back exhausted; and with a final shout of delight the dancers fly apart, reeling here and there, bringing up against the walls of the room. After this there is beer for every one, the musicians included, and the revelers take a long breath and prepare for the great event of the evening, which is the acziavimas.

The acziavimas is a ceremony which, once begun, will continue for three or four hours, and it involves one uninterrupted dance. The guests form a great ring, locking hands, and, when the music starts up, begin to move around in a circle. In the center stands the bride, and, one by one, the men step into the enclosure and dance with her. Each dances for several minutes as long as he pleases; it is a very merry proceeding, with laughter and singing, and when the guest has finished, he finds himself face to face with Teta Elzbieta, who holds the hat. Into it he drops a sum of money a dollar, or perhaps five dollars, according to his power, and his estimate of the value of the privilege.

The guests are expected to pay for this entertainment; if they be proper guests, they will see that there is a neat sum left over for the bride and bridegroom to start life upon. Most fearful they are to contemplate, the expenses of this entertainment. They will certainly be over two hundred dollars and maybe three hundred; and three hundred dollars is more than the year’s income of many a person in this room. There are able-bodied men here who work from early morning until late at night, in ice-cold cellars with a quarter of an inch of water on the floor men who for six or seven months in the year never see the sunlight from Sunday afternoon till the next Sunday morning and who cannot earn three hundred dollars in a year. There are little children here, scarce in their teens, who can hardly see the top of the work benches whose parents have lied to get them their places and who do not make the half of three hundred dollars a year, and perhaps not even the third of it.

And then to spend such a sum, all in a single day of your life, at a wedding feast! (For obviously it is the same thing, whether you spend it at once for your own wedding, or in a long time, at the weddings of all your friends.) It is very imprudent, it is tragic but, ah, it is so beautiful! Bit by bit these poor people have given up everything else; but to this they cling with all the power of their souls they cannot give up the veselija! To do that would mean, not merely to be defeated, but to acknowledge defeat and the difference between these two things is what keeps the world going. The veselija has come down to them from a far-off time; and the meaning of it was that one might dwell within the cave and gaze upon shadows, provided only that once in his lifetime he could break his chains, and feel his wings, and behold the sun; provided that once in his lifetime he might testify to the fact that life, with all its cares and its terrors, is no such great thing after all, but merely a bubble upon the surface of a river, a thing that one may toss about and play with as a juggler tosses his golden balls, a thing that one may quaff, like a goblet of rare red wine. Thus having known himself for the master of things, a man could go back to his toil and live upon the memory all his days. Endlessly the dancers swung round and round when they were dizzy they s Human Sexuality.