banker’s clerk) was there in Corning during the war. Dan Murphy enlisted
as a private, and fought very bravely. The boys all liked him, and when
a wound by and by weakened him down till carrying a musket was too heavy
work for him, they clubbed together and fixed him up as a sutler. He
made money then, and sent it always to his wife to bank for him. She was
a washer and ironer, and knew enough by hard experience to keep money
when she got it. She didn’t waste a penny.
On the contrary, she began to get miserly as her bank-account grew. She
grieved to part with a cent, poor creature, for twice in her hard-working
life she had known what it was to be hungry, cold, friendless, sick, and
without a dollar in the world, and she had a haunting dread of suffering
so again. Well, at last Dan died; and the boys, in testimony of their
esteem and respect for him, telegraphed to Mrs. Murphy to know if she
would like to have him embalmed and sent home; when you know the usual
custom was to dump a poor devil like him into a shallow hole, and then
inform his friends what had become of him. Mrs. Murphy jumped to the
conclusion that it would only cost two or three dollars to embalm her
dead husband, and so she telegraphed “Yes.” It was at the “wake” that
the bill for embalming arrived and was presented to the widow.
She uttered a wild, sad wail that pierced every heart, and said,
“Sivinty-foive dollars for stooffin’ Dan, blister their sowls! Did thim
divils suppose I was goin’ to stairt a Museim, that I’d be dalin’ in such
expinsive curiassities !”
The banker’s clerk said there was not a dry eye in the house.
THE SCRIPTURAL PANORAMIST –[Written about 1866.]
There was a fellow traveling around in that country,” said Mr.
Nickerson, “with a moral-religious show–a sort of scriptural panorama–
and he hired a wooden-headed old slab to play the piano for him. After
the first night’s performance the showman says:
“‘My friend, you seem to know pretty much all the tunes there are, and
you worry along first rate. But then, didn’t you notice that sometimes
last night the piece you happened to be playing was a little rough on the
proprieties, so to speak–didn’t seem to jibe with the general gait of
the picture that was passing at the time, as it were–was a little
foreign to the subject, you know–as if you didn’t either trump or follow
suit, you understand?’
“‘Well, no,’ the fellow said; ‘he hadn’t noticed, but it might be; he had
played along just as it came handy.’
“So they put it up that the simple old dummy was to keep his eye on the
panorama after that, and as soon as a stunning picture was reeled out he
was to fit it to a dot with a piece of music that would help the audience
to get the idea of the subject, and warm them up like a camp-meeting
revival. That sort of thing would corral their sympathies, the showman
said.
“There was a big audience that night-mostly middle-aged and old people
who belong to the church, and took a strong interest in Bible matters,
and the balance were pretty much young bucks and heifers–they always
come out strong on panoramas, you know, because it gives them a chance to
taste one another’s complexions in the dark.
“Well, the showman began to swell himself up for his lecture, and the old
mud-Jobber tackled the piano and ran his fingers up and down once or
twice to see that she was all right, and the fellows behind the curtain
commenced to grind out the panorama. The showman balanced his weight on
his right foot, and propped his hands over his hips, and flung his eyes
over his shoulder at the scenery, and said:
“‘Ladies and gentlemen, the painting now before you illustrates the
beautiful and touching parable of the Prodigal Son. Observe the happy
expression just breaking over the features of the poor, suffering youth–
so worn and weary with his long march; note also the ecstasy beaming from