The Project Gutenberg eBook of Careers of Danger and Daring, by Cleveland Moffett.

Here it was that Gallagher won his place on the roll of honor in this wise. For some time they had heard shouts that were lost in the din of conflagration; but presently they made them out as a warning from somebody somewhere that a man was on a burning barge just passing them. It seemed incredible that a man could be there, alive and silent; but, with the spirit of his trade, Gallagher determined to see if it were true: he would board the barge anyhow; and as the New-Yorker swung close alongside, he sprang down to her deck, where things were a good deal warmer than is necessary for a man's health. And as he leaped, John Kerrigan, at the steering-wheel of Big Daddy, turned its mighty stream against the barge, keeping it just over Gallagher's head, so that the spray drenched down upon him while the stream itself smote a path ahead through the fire.

Down this path went Gallagher, searching for a man, avoiding pitfalls of smoke and treacherous timbers, confident that Kerrigan would hold the flames back, yet see to it that the terrible battering-ram of water did not strike him—for to be struck with the full force of Big Daddy's stream is like being pounded by a trip-hammer.

Gallagher reached the cabin door, found it locked, put his back against it and smashed it in. Then he went on, groping, choking, feeling his way, searching for his man. And at last on one of the bunks he found him, stretched out in a stupor of sleep or drowsed by the stifle of gases. The man was a Swede named Thomas Bund, and he came out of that cabin on Gallagher's back, came off that burning barge on Gallagher's back, and if he does not bless the name of Gallagher all his days, then there is no gratitude in Sweden.

Here we see the kind of service the fire-boats render. On this night they saved the situation and a million dollars besides; they worked against a blazing steamship, against blazing piers, against blazing runaways; worked for eleven hours, until the last smolder of fire had been drowned under thirty thousand tons of water. And not a year passes but they do something of like sort. Now it is a steamship, say the ill-starred Leona, that comes up the bay with a cargo of cotton burning between decks. The New-Yorker makes short work of her. Again it is a blazing lumber district along the river, like the great McClave yards, where the fire-boats fought for eight days and nights before they gained the victory. But they did gain it. Or it may be a fire back from the river, like the Tarrant horror, where the land engines, sore pressed, welcome far-carried streams from the fire-boats as help that may turn the balance.

"Why, this fire-boat's only ten years old, sir," said Captain Braisted, "and she's saved more than she cost every year we've had her." Then he added, as his eyes dwelt proudly on the trim craft purring at her dock-side: "And she cost a tidy sum, too."

Let us come now to that placid summer afternoon, to that terrible Saturday, June 30, 1900, when tug-boats in the North River looked upon a fire the like of which the river had never known and may not know again. They looked from a distance, we may be sure, these tug-boats; for when a great liner swings down-stream, a roaring, red-hot furnace, it is time for wooden-deck craft to scurry out of the way. And here were three liners in such case, the Bremen, the Saale, and the Main, all burning furiously and beyond human help, one would say, for their iron hulls were vast fire-traps, with port-holes too small for rescue, and the decks swept with flame. It was hard to know that back of those steep sides were men in anguish, held like prisoners in a fortress of glowing steel that sizzled as it drifted—three fortresses of glowing steel.

Then up steamed the New-Yorker and the Van Wyck, with men behind fire-shields against the blistering scorch and glare, with monitors and rail-pipes spurting out all that the pumps could send. The New-Yorker took the Bremen, the Van Wyck took the Saale; and there they lay for hours, close on the edge of the fire, like a pair of salamanders, engines throbbing, pumps pounding, pilots at the wheel watching every movement of the liners, following foot by foot, drawing in closer when they gained on the fire, holding away a shade when the fire gained on them, fighting every minute.

"It's queer," said Captain Braisted, "but when you play a broadside of heavy streams on a vessel's side, say at fifty feet, there's a strong recoil that keeps driving the fire-boat back. It's as if you were pushing off all the time with poles instead of water. And you have to keep closing in with the engines."

"Oh, we finally got right up against her, say after forty-five minutes. You can cool off a lot of red-hot iron in forty-five minutes when you've got forty-five tons of water a minute to do it with."

It was just as they came alongside that one of the crew made out a human shape in the coal-chute some ten feet up the Bremen's side. And presently they saw others there, blackened faces, fierce and fearful eyes. And above the fire crackle and the crash of water they heard men's cries.

Straightway a ladder was brought, and three of the crew, Breen, Kerrigan, and Hartmann, lifted it on their shoulders until the top rung came up level with the coal-chute. But this, instead of bringing relief to the fire-bound company, brought madness; for now they fought and struggled so, each one wishing to go first, that none were able to go at all. "They were like wild beasts," said one of the crew.

In this crisis Gallagher sprang up the ladder to the top, where he could look in through the hole, the one hole in all the vessel's sides that was large enough for a man's body to pass. And reaching in here, he grabbed what was nearest, arm, leg, or shock of hair, and hauled it out and lowered it down the ladder to Captain Braisted, who stood below him and passed the bundle on. Then Gallagher grabbed again and again, pulling forth by sheer strength one man at a time, taking them as they came, Germans or Italians, officers or coal-handlers, anything that was alive. Down came the tumbling mass, yelling, praying, fighting, a miserable human stream; and when it was all over and the count was taken, they had saved thirty-two lives.

Now one of the rescued men spoke up in broken English, and said that there were others still on the Bremen, down in the engine-room. And Gallagher volunteered to go aboard for the rescue if one of the men who knew the vessel would come along to guide him. But no man offered this service. It was too hazardous a thing, they said; where the fire was not raging there was smoke and darkness, and the engine-room was far down in the vessel. They had groped about themselves for half an hour in despair, searching for the way out, and now that they had found it, they were not fools enough to go in again.

The rescued ones shook their heads blankly at this; in their minds the law of self-preservation rode over all other things at this moment. Poor men, they were half dazed by their sufferings and the shock!

"All right," cried Gallagher; "I'll go in and find 'em without any guide. Hold the ladder, boys."

"I'm with you, Ned," called Captain Braisted; and without more words these two climbed in through the coal-chute and started down the black, hot, stifling ways for the engine-room. And somehow they got there safely, and found eight men still alive, all Germans, engineers and their assistants. But when the firemen called to them to hurry out for their lives, they refused to move. Their duty was with their engines, said they; they had to run the engines; they were much obliged to the American gentlemen, but they could not leave their post.

"But it won't do any good; the vessel is past hope; you will be burned to death."

The Germans understood perfectly: they would be burned to death at their engines; and as they were all of this mind and not to be shaken, the firemen could only say "good-by" and set forth sadly on the return journey. And this time they nearly lost themselves, but at last their good star prevailed, and they came without harm to their comrades, who listened in wonder to the news they brought. It seemed such utter folly, the decision of that unhappy engine-room crew, yet there was something almost splendid in their stubborn devotion to duty. Quietly they had looked death in the face, a horrible, lingering death, and had not flinched; and days later, when the steamer had burned herself out and lay grounded in the mud, cold and black, the wreckers found these faithful though mistaken men still at their posts, still by their engines, where they had waited in spite of everything—where they had perished.

All this time the Van Wyck had been working on the Saale, but in a harder fight, for the flames raged here as fiercely as on the Bremen, while the smaller fire-boat could throw against them only twenty-five tons of water a minute, which was not enough.

So, now, when all had been done that could be for the Bremen, orders came that the New-Yorker, too, turn her streams against the Saale, and a little later the two fire-boats were in massed attack upon the unhappy liner, which swung down the bay like a blazing island, and presently grounded by the bow on the Communipaw mud-flats, and rested there for the last agony.

The story of those tragic hours is not for telling now. There were more heroic rescues. There were brave attempts at rescue that availed nothing. The fire lads stood on the hurricane deck, with flames roaring about them and water up to their knees surging past like a mill-race; it was the return torrent from their own nozzles. Foot by foot the stern settled and the water crept nearer, nearer to the open port-holes. In a large stateroom aft fourteen men and one woman gave a noble picture of resignation in the face of an awful death. Hemmed in there between fire and water, they prayed quietly, and thanked the fire lads for cups of water passed in through the port-hole, and waved "good-by" as the stern gave a final lurch and went down.

THE AËRIAL ACROBAT

SHOWING THAT IT TAKES MORE THAN MUSCLE AND SKILL TO WORK ON THE HIGH BARS

A FEW years ago I had the pleasure of traveling for ten days with a great circus, and in this way came to know some very interesting people—elephant-keepers, lion-tamers, trapeze performers, bareback riders, not to mention the bearded lady, the dog-faced boy, and other side-show celebrities who used to eat with us in the cook-tent—there was one gentleman, appareled in blue velvet, who ate with his feet, for the reason that he had no arms, and would reach across for salt or butter with an easy knee-and-ankle movement that was a perpetual surprise.

What strange things one sees traveling with a circus! Every night there is a mile of trains to be loaded, every morning a tented city to be built. Such hard work for everybody! Two performances a day, besides the street procession. And what a busy time in the tents! Leapers getting ready, double-somersault men getting ready, clowns stuffing out false stomachs and chalking their faces, kings of the air buckling on their spangles. Ouf! How glad we all were when five o'clock came, and the concert was over, and the "big top," with its spreading amphitheater and its four great center-poles, stood silent and empty!

It was at this five-o'clock hour one day that I first saw little Nelson, the ten-year-old trapeze performer, and that picture remains among the pleasantest of my circus memories. I can recall more exciting things, like the fight between two jealous wrestlers, or the mystery of the lost Chinese giant, or the story of a wrecked train, when the wild animals escaped and the fat lady was rescued with difficulty from a burning car. And I can recall sad things, the case of that poor trapeze girl, two weeks a widow, who nevertheless went through her act twice a day and tripped away kissing her hands to the crowd while her heart was breaking. And saddest of all was the case of beautiful "Zazel," once the much-advertised "human cannonball," then suddenly a helpless cripple after a fall from the dome of the tent. Her husband, one of the circus men, told me how she lived for more than a year in a plaster case swung down from the ceiling, and of her sweetness and patience through it all. And she finally recovered, I am glad to say, so that she could walk—a pale, weak image of this once splendid circus queen.

But let me come to Nelson. This sturdy little fellow was one of the circus children, "born on the sawdust," brought up to regard lion cages as the proper background for a nursery, and thinking of father and mother in connection with the flying bars and bareback feats. It was Nelson's ambition to follow in his father's steps and become a great artist on the trapeze. Indeed, at this time he felt himself already an artist, and at the hour of rest would walk forth into the middle ring all alone and with greatest dignity go through his practice. He would not be treated as a child, and scorned any suggestion that he go out and play. Play? He had work to do. Look here! Do you know any man who can throw a prettier row of flip-flaps than this? And wait! Here's a forward somersault! Is it well done or not? Did he come over with a good lift? Like his father, you think? Ah! I can still see his chest swell with pride.

Nelson was not a regular member of the show; he was a child, and merely came along with his parents, the circus being his only home; but occasionally, after much teasing or as a reward for good behavior, his father would lead the boy forth before a real audience. And how they would applaud as the trim little figure in black-and-yellow tights rose slowly to the tent-top, feet together, body arched back, teeth set on the thong of the pulley-line that his father held anxiously!

And how the women would catch their breath when Nelson, hanging by his knees in the long swing, would suddenly pretend to slip, seem to fall, then catch the bar cleverly by his heels and sweep far out over the spread of faces, arms folded, head back, and a look that said plainly: "Don't you people see what an artist I am?"

This boy possessed the two great requisites in a trapeze performer, absolute fearlessness and a longing to perform in the air—which longing made him willing to take endless pains in learning. It would seem that acrobats differ from divers, steeple-climbers, lion-tamers, and the rest in this, that from their early years they have been strongly drawn to the career before them, to leaping, turning in the air, and difficult tricks on the trapeze and horizontal bars. The acrobat must be born an acrobat, not so much because his feats might not be learned by an ordinary man, but because the particular kind of courage needed to make an acrobat is not found in the ordinary man. In other words, to be an aërial leaper or an artist on the flying bars is quite as much a matter of heart as of agility and muscle. There are men who know how to do these things, but can't.

In illustration of this let me present three of my circus friends, Weitzel and Zorella and Danny Ryan, trapeze professionals whose daring and skill are justly celebrated. Zorella's real name, I may say, is Nagel, and so far from being a dashing foreigner, he is a quiet-spoken young man from Grand Rapids, Michigan, where he learned his first somersaults tumbling about on sawdust piles. And at sixteen he was the only boy in the region who could do the giant swing. Whereupon along came a circus with an acrobat who needed a "brother," and Nagel got the job. Two days later he began performing in the ring, and since then—that was ten years ago—he hasn't missed a circus day.

The catcher-man must hold himself ready for a dozen different leaps, must watch for the safety clutch where the four hands grip first at the elbows, then slide down the forearms to the wrists and hold there where the tight-bound handkerchiefs jam; he must know how to seize Zorella by the ankles when he shoots at him feet up after a backward double; he must know how to land Danny when he comes turning swiftly with eyes blindfolded and body bound in a sack.

All these feats are hard enough to do, yet still harder, one might say, is the mere starting to do them. There are scores of acrobats, well skilled in doubles and shoots and twisters, who would not for their lives go up on the pedestal whence Ryan and Zorella make their spring, and simply take the first long swing hanging from the trapeze. Nothing else, simply take the swing!

The fact is, there is an enormous difference between working on horizontal bars say ten feet above ground, and on the same bars thirty feet above ground, or between a trapeze act with leaps after a moderate swing, and the same act with leaps after a long swing. Often I have watched Ryan and Zorella poised on the pedestal just before the swing and holding the trapeze bar drawn so far over to one side that its supporting wires come up almost horizontal; and even on the ground it has made me dizzy to see them lean forward for the bar which falls short of the pedestal, so that they can barely catch it with the left-hand fingers, while the right hand clings to the pedestal brace. They need the send of that initial spring to give them speed, but—

Well, there was a very powerful and active man in Columbus, Ohio, a kind of local athlete, who agreed, on a wager, to swing off from the pedestal as Danny and Zorella did. And one day a small company gathered at the practice hour to see him do it. He said it was easy enough. His friends chaffed him and vowed he "couldn't do it in a hundred years." The big man climbed up the swinging ladder to the starting-place, and stood there looking down. When you stand on the pedestal the ground seems a long way below you, and there is little comfort in the net. The big man said nothing, but began to get pale. He had the trapeze-bar all right with one hand; the thing was to let go with the other.

For ten minutes the big man stood there. He said he wasn't in a hurry. His friends continued to joke him. One man urged him to come down. The professionals told him he'd better not try it if he was afraid—at which the others laughed, and that settled it, for the big man was afraid; but he was stubborn, too, and, rising on his toes, he threw his right arm forward and started. He caught the bar safely with his right hand, swept down like a great pendulum, and at the lowest point of the swing was ripped away from the bar with the jerk of his two hundred pounds, and went skating along the length of the net on his face until he was a sorry-looking big man with the scratch of the meshes. Not one athlete in twenty, they say, without special training, could hold that bar after such a drop.

Zorella cited a case in point where a first-class acrobat was offered a much larger salary by a rival circus to become the partner of an expert on the high bars. "This man was crazy to accept," said Zorella, "and everything was practically settled. The two did their act together on the low bars in great shape. Then they tried it on the high bars, and the new man stuck right at the go-off. Queerest thing you ever saw. He had to start on the end bar with a giant swing,—that gives 'em their send, you know,—then do a backward single to the middle bar, then a shoot on to the last bar, and from there drop with somersaults down to the net. All this was easy for him on the low bars, but when he got up high—well, he hadn't the nerve to let go of the first bar after the giant swing. He kept going round and round, and just stuck there. Seemed as if his hands were nailed fast to that bar. We talked to him, and reasoned with him, and he tried over and over again, but it was no use. He could drop from the last bar, he could shoot from the middle bar, but to save his life he couldn't let go of the first bar. I don't know whether he was afraid, or what; but he couldn't do it, and the end of it was, he had to give up the offer, although it nearly broke his heart."

And even acrobats accustomed to working at heights feel uneasy in the early spring when they begin practising for a new season. The old tricks have always in a measure to be learned over again, and they work gradually from simple things to harder ones—a straight leap, then one somersault, then two. And foot by foot the pedestal is lifted until the body overcomes its shrinking. Even so I saw Zorella one day scratched and bruised from many failures in the trick where Weitzel catches him by the ankles. Here, after the long swing, he must shoot ahead feet first as if for a backward somersault, and then, changing suddenly, do a turn and a half forward, and dive past Weitzel with body whirling so as to bring his legs over just right for the catch. And every time they missed of course he fell, and risked striking the net on his forehead, which is the most dangerous thing an acrobat can do. To save his neck he must squirm around, as a cat turns, and land on his back; which is not so easy in the fraction of a second, especially if you happen to be dazed by a glancing blow of the catcher-man's arm.

ABOUT DOUBLE AND TRIPLE SOMERSAULTS AND THE DANGER OF LOSING HEART

IN talking with my circus friends I was surprised to learn that a trapeze performer in perfect practice, say in mid-season, may suddenly, without knowing why, begin to hesitate or blunder in a certain trick that he has done without a slip for years. This happened to Danny Ryan in the fall of 1900, when he found himself growing more and more uncertain of his difficult pirouette leap, a feat invented by himself in 1896, and never done by another performer. Danny did it first when he used to play the clown with the spring-board leapers who do graceful somersaults over elephants and horses. With them would come Danny, made up as a fat man, and do a backward somersault and a full twister at the same time, the effect being a queer corkscrew turn that made the people laugh. They little suspected that this awkward-looking leap was one of the most difficult feats in the air ever attempted, or that it had cost Ryan weeks of patient practice and many a hard knock before he mastered it.

And then one day, after doing it hundreds of times with absolute ease, he did it badly, then he did it worse, then he fell, and finally began to be afraid of it and left it out of the act. Acrobats shake their heads when you ask for an explanation of a thing like that. They don't know the explanation, but they dread the thing.

"When a man feels that way about a trick, he's got to quit it for a while," said Ryan, "or he'll get hurt. 'Most all the accidents happen where a performer forces himself against something inside him that says stop. Sometimes an acrobat has to give up his work entirely. Now, there's Dunham,—you've heard of him,—the greatest performer in the world on high bars. They'll give him any salary he wants to ask. Graceful? Well, you ought to see him let go from his giant swing and do a back somersault clean over the middle bar and catch the third! And now they say he's gone out of the business. Somebody told me it was religion. Don't you believe it. He's had a feeling—it's something like fear, but it isn't fear—that he's worked on high bars long enough."

"He's had bad luck with his partners, too," remarked Weitzel. "Couple of 'em missed the turn somehow and got killed. Say, that takes a man's nerve as much as anything, to have his partner hurt. I don't wonder Dunham wants to quit."

"Tell you where it's hard on an acrobat," put in Zorella—"that's where he can't quit on account of his family—where he needs the money. I remember a young fellow joined the show out west to leap over elephants. He got along well enough over two elephants, but when it came to three, why, we could all see he was shaky. Some of the boys told him he'd better stop, but he said he'd try to learn, and he was such a nice, modest fellow and worked so hard that everybody wished him luck. But it wasn't any use. One day he tackled a double over three elephants, and came down all in sections, with his right foot on the mattress and his left foot on the ground. That was his last leap, poor fellow, for the ankle bones snapped as his left foot struck, and a few hours later he lay in the dressing-room tent, pretty white, with the doctors over him. I'll never forget the way he looked up at us when we came in. He was game all right, but his eyes were awful pathetic. 'Well, boys' said he, 'here I am. I did the best I could.' Turned out he'd done it for a sick wife and a little baby. Pretty tough, wasn't it?"

Speaking of leaps over elephants brings to my mind an afternoon when I watched a circus rehearsal in the open air. That is a thing better worth seeing, to my mind, than the regular performance; the acrobats and riders in their every-day clothes are more like ordinary men and women, and their feats seem the more difficult for occasional slips and failures.

Here, for instance, are a mother and daughter, in shirt-waists, watching the trick monkey ride a pony, when suddenly a whistle sounds, and off goes the mother to drive three plunging horses in a chariot-race, while the daughter hurries to her part in an equestrian quadrille. And now these children playing near the drilling elephants trot into the ring and do wonderful things on bicycles. And yonder sleepy-looking man is a lion-tamer; and those three are the famous Potters, aërial leapers; and this thick-set fellow in his shirt-sleeves is Artressi, the best jumper in the circus. He's going to practise now; see, they are putting up the spring-board and the long downward run that leads to it. These other men are jumpers, too, but Artressi is the star; he draws the big salary.

In a resting-spell I sat down by Artressi and talked with him about leaping. It was hard, he said, going off a spring-board into empty air. Didn't know how it was, but he could always do better with something to leap over, say elephants or horses. He could judge the mattress easier; wasn't so apt to miss it. What was his biggest leap? Well, four elephants and three camels was about his best, with a pyramid of men on top. He'd cleared that twice a day for weeks some years ago, but he wouldn't do it now. No, sir; four elephants was enough for any man to leap over if he had a wife and child. That made a flight of thirty feet, anyhow, from the spring-board to the ground. Oh, yes, he turned two somersaults on the way—forward somersaults. It wasn't possible for anybody to clear four elephants and turn backward somersaults.

I asked Artressi (his real name is Artress) about a leap with three somersaults, and found him positive that such a feat will never become part of a regular circus program. A man can turn the three somersaults all right, but he loses control of himself, and doesn't know whether he is coming down right or wrong. In fact, he is sure to come down wrong if he does it often. Then he mentioned the one case where he himself had made a leap with three somersaults. It was down in Kentucky, at the home of his boyhood. Years had passed since he had seen the town, and in that time he had risen from nothing to a blaze of circus glory. He had become the "Great Artressi" instead of little Joe Artress, and now he was to appear before the people who knew him.

It was perhaps the most exciting moment of his life, and as he came down the run toward the spring-board he nerved himself to so fine an effort that instead of doing two somersaults over the horses and elephants, as he intended, he did three, and, by a miracle of fortune, landed safely. That was his first and last triple; he wasn't taking chances of a broken neck or a twisted spine, which had been the end of more than one ambitious leaper. No, sir; he would stick to doubles, where a man knows exactly what he's doing.

In talking with acrobats, I came upon an interesting phenomenon that seems almost like a violation of the laws of gravitation. It appears that the movements of a performer on the bars or trapeze are affected in a marked degree by the slope of the ground underneath. In other words, although bars and trapeze may rest on supports that are perfectly level, yet the swing of an acrobat's body will be accelerated over a downward slope or retarded over an upward slope. So true is this that the trapeze performer swinging over an upward slope will often require all his strength to reach a given point, while over a downward slope he must hold back, lest he reach it too easily and suffer a collision. Nevertheless, the swing in both cases is precisely the same, with rigging and bars fixed to a true level.

On this point there have been endless arguments, and many persons have contended that acrobats must imagine all this, since the upward or downward slope of the ground under a trapeze can in no way affect the movement of that trapeze. I fancy the wisdom of such people is like that of the professors who proved some years ago that it is a physical impossibility for a ball-player to "pitch a curve." There is no doubt that trapeze performers are obliged to take serious account of the ground's slope in their daily work, to note carefully the amount of slope and the direction of slope, and to take their precautions accordingly. If they did not they would fail in their feats. Those are the facts to which all acrobats bear witness, let scientists explain them as they may.

"Suppose the ground slopes to one side or the other under your trapeze," I asked Ryan, one day. "How does that affect you?"

"Sometimes I pull the bar over a little in starting, so as to balance the pull of the hill; but that's uncertain. It's better to fix the rigging so that the bar is a little higher on the downhill side."

Ryan said that a straight-ahead downhill slope is the worst for a man, because he is apt to hold back too hard, being afraid of bumping into his partner, and so he doesn't get send enough, and falls short of his mark.

"But all slopes are bad for us," he said, "and we try hard to get our things put up over level ground."

This is but one instance of the jealous care shown by acrobats for their bars and rigging. These things belong not to the circus, but to the individual performers, who put every brace and knot to the severest test. For the high bars a particular kind of hickory is used with a core of steel inside. Every mesh of the net must resist a certain strain. The bars themselves must be neither too dry nor too moist. The light must come in a certain way, and a dozen other things. Many an accident has come through the failure of some little thing.

This much is certain, that acrobats often suffer without serious injury falls that would put an end to ordinary men. Like bareback riders, they know how to fall, this art consisting chiefly in "tucking up" into a ball and hardening the muscles so that the shock is eased. Also they have by practice acquired the power of deciding instantly how to make the body protect itself in an emergency.

"Now," said Ryan, "I'll give you a case where two of us did some quick thinking, and it helped a lot. We were with a circus in Australia, making a night run. It was somewhere in New South Wales, and every man was asleep in his bunk. First thing we knew, bang, rip, tear! a drowsy engineer had smashed into us and taken the rear truck of our sleeper clean off, and there were the floor timbers of our car bumping along over the ties. We had the last car.

"Our engineer never slowed up, and our floor was going into kindling-wood fast. It was as dark as pitch, and nobody said a word. Fred Reynolds and I—Reynolds was a clown acrobat—had lower berths right at the end, next to the negro porter, and I don't say we escaped because we were acrobats, but—well, this is what we did. Fred gave one mighty leap, just like going over elephants, and cleared the whole trail of wreckage that was pounding along behind the car and landed safe on the track. It was a crazy thing to do, in my opinion, but it worked. I made a spring for the chandelier, and hung there until the train stopped. And afterward I found my trousers back on the road-bed with the legs cut clean off, and I guess my own legs would have gone the same way if they'd been there. What did the porter do? Oh, he did nothing, and—and he was killed."

III

IN WHICH THE AUTHOR TRIES HIS HAND WITH PROFESSIONAL TRAPEZE PERFORMERS

ON this particular morning—it was a damp day in February—I had been watching the Potter family, familiar on circus posters in tights and spangles, at their practice of aërial leaps, when Henry Potter, who is husband, father, and brother of the others, and chief of the act, suggested that if I wanted a vivid idea of what it was to work on the flying trapeze I might come up and take his place on the cradle and let Tom chuck the "kid" across to me and see if I could catch him.

The "kid" was Roy Potter (sometimes Royetta, when presented in feminine trappings), a slender lad of seventeen, who had just been doing doubles and twisters and half turns, leaping with shoot and graceful curve from brother to brother up there in mid-air under the rafters of this moldering old skating-rink.

"Go ahead," he urged; "it's easy enough. All you've got to do is hang by your knees, and it can't hurt the boy, for he'll drop in the net if you miss him. Besides, we'll put the 'mechanic' on him."

The "mechanic" is an arrangement of waist straps and trailing pulley-ropes that guard a gymnast while he is learning some new feat.

Doubtless, I should have declined this amiable offer had I taken time to consider, for there was no particular appropriateness in a man who knew nothing about the trapeze, except such rudiments as boys of twelve get in their own back yards, taking part offhand in a leaping performance thirty feet above ground with "the phenomenal and fearless Potters"—I quote the circus signs—"greatest of all great acrobatic aërials." Yet he put it so plausibly—I certainly would get a better idea of the thing—and he made it out so simple—anybody can hang by his knees—that I said all right; I would go up on the cradle and catch the "kid."

This cradle is composed of two steel bars, about a foot apart, that are held rigid by tackle and wire braces. You climb to it (after emptying your pockets) by a swinging ladder, none too secure, and, seated here, look down as from the dome of a circus tent. On a line with you are other cradles, where your partners are coolly preparing to do things. You glance across at them anxiously, then down at the net, which seems a long way beneath.

"Better put some rosin on your hands," sings out Potter from the ground, where he is arranging the "mechanic" lines.

"It's in that little bag on the wire," calls the boy from his perch. "Rub it along your wrists, too; we'll ketch better."

H'm! We will, eh? I do as I am told, and realize that even the trifling movement to get this rosin-bag involves a certain peril.

"Now lean back," comes the word; "catch one bar in the crotch of your knees and brace your feet under the other. That's right. Hang 'way down. Stretch your arms out, and when I say, 'Now,' pull up and reach for the 'kid'—you'll see him coming."

Sure enough, although the blood was in my head, I could see over there Tom Potter's red shirt and the boy's blue one as they poised for the swing. Then Tom's body dropped back, and he swept the lad at full arm's length, through a half circle, and let him go head first, cutting the air, straight at me.

"Now," cried Harry, and I reached out as best I could, only to see the boy, a second later, floundering in the net below me. And they all were laughing. In trying to reach one way I had actually reached the other, and withdrawn my arms instead of extending them, which made me understand better than an hour of words that a man hanging head down at a height finds his muscles as hard to control as a penman writing with his left hand for the first time. He cannot even see straight until his eyes learn to gage distances and the relation of things presented upside down.

With some pains and an awkward clutching at the braces I got myself back into a sitting position, while Roy climbed again good-naturedly to his starting-cradle. A trapeze performer must have infinite patience.

Again we tried the trick, and this time, as I hung expectant, I felt my wrists clutched tight, and there was the agile leaper swinging back, pendulum fashion, from my arms, then forward, then back, while the bar strained under my knees.

Alas! I made a bungle of it. I could not give him send enough, and the boy, falling short of Tom's arms, dangled from the "mechanic" lines half-way down to the net. It was quite plain that more than good intentions are needed to chuck young gentlemen through flights of eighteen feet. I was feeling decidedly queer by this time—a sort of half-way-over-the-Channel faintness, and could imagine what it must be to work up here, right at the peak of a "big-top" tent, under the scorch of an August sun, with the stifle of a great audience coming up from below. I expressed a readiness to descend.

"Try a drop into the net," suggested Tom Potter. "See, hang by your hands, like this. Keep your legs together and lift 'em out stiff. Then—"

"Better put the 'mechanic' on him," said Harry, and presently young Roy was beside me on the cradle, securing me to the drop-lines with a double hitch.

"You want to be sure to lift yer legs," he remarked. "I knew a feller that struck the net straight on his feet and broke his knees."

"Don't you worry," said Harry; "if you don't fall right, I'll hold you with the 'mechanic.'"

Of course, when a man has started at this sort of thing he must see it through, so I hung obediently by my hands, lifted my legs, and—

"Now," cried Harry, and instantly, before I had time to think or note sensations, I was on my back in the net. And I understood what a terrible problem it is for a gymnast, falling with such swiftness, to turn two or three somersaults in the air and land with the body at just the angle of safety, for a shade too much one way may mean a broken leg, and a shade too much the other way an injured spine.

For some time after my aërial experience I sat around rather limp and white, giving but indifferent attention to the breaking in of young Clarence Potter, baby of the family, now in his first fortnight's practising. He certainly showed a game spirit, this little fellow. When his father said, "Jump," he jumped, and when the call came for a forward somersault across and a half turn he went at it like a veteran, though his wrists must have burned with red chafes where they caught him. Of course he had the 'mechanic' on all the time.

"We have to handle him very careful," said his father, "he's so limber. It wouldn't take much to break his back. But he'll harden up soon. People have an idea that gymnasts are supple-jointed. That's all nonsense. A gymnast won't bend as much as an ordinary business man. There are too many bunches of muscles all over him that keep him stiff. See, feel along here." He prodded my hand into his back and sides. "Not big muscles, mind, but lots of small ones. Say, it's a fine thing to have your body trained. I don't believe there's a healthier— Hey, there! Keep those legs together. Easy now. Good boy!" The little fellow had made a pretty turn and drop to the net, and was striding along its meshes, beaming at the praise.

"He'll make a gymnast," said Potter, "because he's got a head on him, and can fix his mind on what he's doing. Oh, it takes more than body to make a great acrobat. It takes brains, for one thing, and heart. I believe I'll be able to train that boy so he can do a triple. I mean do it, not get through it in a Lord-help-me way. Most people say a triple can't be done for a regular act because it's too uncertain and too dangerous. But they used to say that of a double. It's all a matter of taking time enough in the practice. That's the thing, practice. Why, look at us. We don't open for months yet, but we're up here every morning all through the winter getting our act down so fine, and the time so perfect, that when summer comes we can't fail."

"Why, in trapeze work everything depends on judging time. Just now when you were hanging from the cradle you couldn't see much, could you? Well, we can't, either. We have to know when to do things by feeling the time they take. Say it's a long double swing, where the men cross and change bars. Each man grabs or lets go at the second or part of a second when the watch inside him says it's time to grab or let go. That's the only watch he has, and it's the only one he needs."

"Certainly he does. He can't see. What could you see, falling and whirling? A gymnast has no different eyes from any other man. He's got to feel how long he must keep on turning. And it's good-by gymnast if his feeling is a quarter of a second out of the way."

Mr. Potter smiled. "I'll give you a case, and you can judge for yourself. There was a fellow named Johnnie Howard in the Barnum show. He was doing trapeze work with the famous Dunham family, and was very ambitious to equal Dunham in all his feats, which was a large contract, for Dunham is about the finest gymnast in the world. What a pretty triple he can do, clean down from the top of the tent, and land right every time!

"Well, Howard he kept trying triples, and sometimes he got 'em about right and sometimes he didn't. Dunham told him he'd better stick to doubles until he'd had more practice, but Howard wouldn't have it, and he kept right on. Prob'ly he thought Dunham was jealous of him. Anyhow, he tried a triple one night at Chicago, in the Coliseum, and that was the last triple he ever did try. He misjudged his time by a quarter of a turn—that is, he turned three somersaults and a quarter instead of just three—and struck the net so that he twisted his spinal column, and he died a few weeks later. That last quarter of a turn killed him, and it probably didn't take over a tenth of a second."

Here was something to think about. Precision of movement to tenths of a second, with no guidance but a man's own intuition of time, and a life depending on it!

"Certainly he can. That's the first thing you learn. If you want to turn faster you tuck up your knees and bend your head so the chin almost touches your breast. If you want to turn slower you stretch out your legs and straighten up your head. The main thing is your head. Whichever way you point that your body will follow. In our act we do a long drop from the top of the tent, where you shoot straight down, head first, for fifty or sixty feet and never move a muscle until you are two feet over the net. Then you duck your head everlastingly quick and land on your shoulders."

I asked Mr. Potter how long a drop would be possible for a gymnast. He thought a hundred feet might be done by a man of unusual nerve, but he pointed out that the peril increases enormously with every twenty feet you add, say to a drop of forty feet. When you have dropped sixty feet you are falling thirty-five miles an hour; when you have dropped eighty feet you are falling nearly sixty miles an hour. And so on. It seemed incredible that a man shooting down, head first, at such velocity would wait before turning until only two feet separated him from the net.