“Who is he?” Frances inquired, looking out at the approaching figure,
“The troubadour of the North Platte, I call him,” laughed Nola; “the queerest little traveling musician in a thousand miles. He belongs back in the days of romance, when men like him went playing from castle to court—the last one of his kind.”
Frances watched him with new interest as he drew up to the big gate, which was arranged with weights and levers so that a horseman could open and close it without leaving the saddle. The troubadour rode a mustang the color of a dry chili pepper, but with none of its spirit. It came in with drooping head, the reins lying untouched on its neck, its mane and forelock platted and adorned fantastically with vari-colored ribbons. Rosettes were on the bridle, a fringe of leather thongs along the reins.
The musician himself was scarcely less remarkably 35 than the horse. He looked at that distance—now being at the gate—to be a dry little man of middle age, with a thirsty look about his throat, which was long, with a lump in it like an elbow. He was a slender man and short, with gloves on his hands, a slight sandy mustache on his lip, and wearing a dun-colored hat tilted a little to one side, showing a waviness almost curly in his glistening black hair. He carried a violin case behind his saddle, and a banjo in a green covering slung like a carbine over his shoulder.
“He’ll know where to put his horse,” said Mrs. Chadron, getting up with a new interest in life, “and I’ll just go and have Maggie stir him up a bite to eat and warm the coffee. He’s always hungry when he comes anywhere, poor little man!”
“Can he play that battery of instruments?” Prances asked.
“Wait till you hear him,” nodded Nola, a laugh in her merry eyes.
Then they fell to talking of the coming night, and of the trivial things which are so much to youth, and to watching along the road toward Meander for the expected guests from Cheyenne, who were to come up on the afternoon train.
Regaled at length, Banjo Gibson, in the wake of Mrs. Chadron, who presented him with pride, came into the room where the young ladies waited with impatience the waning of the daylight hours. Banjo acknowledged the honor of meeting Miss Landcraft 36 with extravagant words, which had the flavor of a manual of politeness and a ready letter-writer in them. He was on more natural terms with Nola, having known her since childhood, and he called her “Miss Nola,” and held her hand with a tender lingering.
His voice was full and rich, a deep, soft note in it like a rare instrument in tune. His small feet were shod in the shiningest of shoes, which he had given a furbishing in the barn, and a flowing cravat tied in a large bow adorned his low collar. There were stripes in the musician’s shirt like a Persian tent, but it was as clean and unwrinkled as if he had that moment put it on.
Banjo Gibson—if he had any other christened name, it was unknown to men—was an original. As Nola had said, he belonged back a few hundred years, when musical proficiency was not so common as now. The profession was not crowded in that country, happily, and Banjo traveled from ranch to ranch carrying cheer and entertainment with him as he passed.
He had been doing that for years, having worked his way westward from Nebraska with the big cattle ranches, and his art was his living. Banjo’s arrival at a ranch usually resulted in a dance, for which he supplied the music, and received such compensation as the generosity of the host might fix. Banjo never quarreled over such matters. All he needed was enough to buy cigarettes and shirts.
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Banjo seldom played in company with any other musician, owing to certain limitations, which he raised to distinguishing virtues. He played by “air,” as he said, despising the unproficiency of all such as had need of looking on a book while they fiddled. Knowing nothing of transposition, he was obliged to tune his banjo—on those rare occasions when he stooped to play “second” at a dance—in the key of each fresh tune. This was hard on the strings, as well as on the patience of the player, and Banjo liked best to go it single-handed and alone.
When he heard that musicians were coming from Cheyenne—a day’s journey by train—to play for Nola’s ball, his face told that he was hurt, but his respect of hospitality curbed his words. He knew that there was one appreciative ear in the mansion by the river that no amount of “dago fiddlin’ ” ever would charm and satisfy like his own voice with the banjo, or his little brown fiddle when it gave out the old foot-warming tunes. Mrs. Chadron was his champion in all company, and his friend in all places.
“Well, sakes alive! Banjo, I’m as tickled to see you as if you was one of my own folks,” she declared, her face as warm as if she had just gorged on the hottest of hot dishes which her Mexican cook, Maggie, could devise.
“I’m glad to be able to make it around ag’in, thank you, mom,” Banjo assured her, sentiment and soul behind the simple words. “I always carry a warm place in my heart for Alamito wherever I may stray.”
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Nola frisked around and took the banjo from its green cover, talking all the time, pushing and placing chairs, and settling Banjo in a comfortable place. Then she armed him with the instrument, making quite a ceremony of it, and asked him to play.
Banjo twanged the instrument into tune, hooked the toe of his left foot behind the forward leg of his chair, and struck up a song which he judged would please the young ladies. Of Mrs. Chadron he was sure; she had laughed over it a hundred times. It was about an adventure which the bard had shared with his gal in a place designated in Banjo’s uncertain vocabulary as “the big cook-quari-um.” It began:
Oh-h-h, I stopped at a big cook-quari-um
Not very long ago,
To see the bass and suckers
And hear the white whale blow.
The chorus of it ran:
Oh-h-h-h, the big sea-line he howled and he growled,
The seal beat time on a drum;
The whale he swallered a den-vereel
In the big cook-quari-um.
From that one Banjo passed to “The Cowboy’s Lament,” and from tragedy to love. There could be nothing more moving—if not in one direction, then in another—than the sentimental expression of Banjo’s little sandy face as he sang:
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I know you were once my true-lov-o-o-o,
But such a thing it has an aind;
My love and my transpo’ts are ov-o-o-o,
But you may still be my fraind-d-d.
Sundown was rosy behind the distant mountains, a sea of purple shadows laved their nearer feet, when Banjo got out his fiddle at Mrs. Chadron’s request and sang her “favorite” along with the moving tones of that instrument.
Dau-ling I am growing-a o-o-eld,
Seel-vo threads a-mong tho go-o-ld—
As he sang, Nola slipped from the room. He was finishing when she sped by the window and came sparkling into the room with the announcement that the guests from far Cheyenne were coming. Frances was up in excitement; Mrs. Chadron searched the floor for her unfinished sock.
“What was that flashed a-past the winder like a streak a minute ago?” Banjo inquired.
“Flashed by the window?” Nola repeated, puzzled.
Frances laughed, the two girls stopping in the door, merriment gleaming from their young faces like rays from iridescent gems.
“Why, that was Nola,” Frances told him, curious to learn what the sentimental eyes of the little musician foretold.
“I thought it was a star from the sky,” said Banjo, sighing softly, like a falling leaf.
As they waited