The Project Gutenberg EBook of The Toy Shop, by Margarita Spalding Gerry

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org/license


Title: The Toy Shop
       A Romantic Story of Lincoln the Man

Author: Margarita Spalding Gerry

Release Date: May 28, 2012 [EBook #39829]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK THE TOY SHOP ***




Produced by David Edwards, Paula J. Franzini and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive)







Cover

Frontispiece

THE MAN WAS LEAVING HIS OWN FRONT DOOR


The TOY SHOP
A Romantic Story of Lincoln the Man

BY
MARGARITA SPALDING GERRY

 

HARPER & BROTHERS
NEW YORK AND LONDON
MCMVIII

titlepage

Copyright, 1908, by Harper & Brothers.

All rights reserved.
Published September, 1908.


The child is eternal, and so are toys and tears and laughter. When the house is put in order by strange men, when the clothes that were worn and the tools that were used are put away, there will be found an upper room full of toys. These remain.

titlepage

[3]

THE TOY-SHOP

T

HE Man was leaving his own front door. On the steps he paused and looked sombrely back. The white pillars of the facade rose before him in stately fashion. They reminded him of the care he was evading for the moment, and he sighed. Though he shut his eyes determinedly, he knew that another grim building just beyond, the usual end of his journeying, demanded him, and he sighed again. This time there was something more than weariness in the sound.

[4]

From around the corner of the house, which almost hid from view the white tents of the Home Guard, ran a child. He was bright-faced, and magnificent in a miniature officer's uniform.

"Oh, papa-day!" he cried. "Never mind the curtains for my stage. You are always too busy now to see my plays, anyway—!" He interrupted himself to fling this in petulantly: "But get lots of soldiers—and one company of cavalry. I can't get him surrounded without two more companies—and six cannon!"

The child lisped so in his eagerness that no one but his father could have understood him, and his father was so lost in his gloomy thought that he did not know the child had spoken. When the expected reply did not come, the boy looked his wonder.

"Papa-day—papa-day!" he cried, giving the man a little push. "I want some soldiers!"

[5]

Startled out of his sadness, the father looked at the child.

"Soldiers? All right, son; I'm off for a walk now. I saw a shop the other day."

He walked off. It was not a beautiful street down which he turned. Even the fine width of it suggested an inflated sense of its own importance. There were some good lines in the structure at the first corner, but the building was unfinished, and drooped sadly, like an eagle without its wings. Beyond that corner the paving of the street ended. Looking at the mud, the Man wished vaguely that he had worn his boots.

He swung down the row of dingy business houses, his eye on the ragged sky-line. His ungainly strides covered the ground rapidly, even though in abstraction he stumbled over the uneven brick sidewalk. The Man's face fell again into lines of melancholy thought.

[6]

"There is no hope for it," he told himself. "I will have to sign the warrant. I can't find the shadow of an excuse. It is a clear case of desertion." His thoughts drifted to the armies facing each other in the cheerless, raw December weather—his army sodden with fogs, sullen with inaction. "The poor young fellow must be punished." The Man's heart ached with comprehension. He understood so well the wave of homesickness, for which he had the more tender sympathy because of the absence of it in his own cheerless boyhood. "After all, he is a soldier, and he must be punished for the good of the others. And that boy—like so many other boys—would have been a hero, not a deserter, at another turn of the wheel. It is idleness that makes traitors of them. Where can I find a man who will end all this?"

[7]

He passed the comfortable portico of a church which carried with it a breath of thrifty village life. He had been there the Sunday before, and the minister had prayed for peace. "Peace!" The word smote him, for he had ordained war. "Peace! How can I compass it? Somewhere in the Eternal Consciousness must rest the knowledge. But how can I discover it? 'Such knowledge is too high; I cannot attain to it,'" groaned the Man.

With the thought he raised his eyes. He was opposite a young ladies' boarding-school. It was a decorous place, sedately retired on a terrace. A group of young women in billowing crinolines were returning from the daily walk. There was a lively ripple of subdued comment as he looked up.

"Did you ever see such awkwardness?" asked of her companion a girl from Virginia. "And the creases in his coat!" There was much mirth,[8] in the midst of which a young lady from Maryland laughed out:

"Did you ever see him try to bow to a lady?"

Quite ignorant of these girlish strictures, the Man caught the eye of the youngest boarder, who, kept in the house with a sore throat, was flattening her nose hopelessly against the window-pane. Something in the face of the sad-looking man made her throw him a shy little appeal for sympathy from two red and swollen eyes. He answered it. Then:

"That child, too, I may have made fatherless even now," he thought, and shuddered.

"How to end it?" His mind kept him remorselessly at work. "I have failed. Another man might know—so many claim to know. If a better man were in my place, perhaps he could stop the killing and the sorrow."

[9]

He was approaching a poorer part of the city, where modest homes and small industries bound about the lives of simple folk, quite apart from the square, dignified old houses where the aristocrats lived. The houses seemed to press in upon him like the sorrows of the world. He thought of those who had gone out from them.

"My hand sent them out—the bright youth, North and South—to kill and to be killed. And my hand cannot bring them back. Had I the right to do it? How could I have thought that any good could come from such as I? I thought I saw clearly—I, sprung out of such darkness—having seen such sin. What right had I to think that I could lead? It was a crime!"

He came to a group of tiny two-story shops—cobblers' rooms, dingy groceries.

[10]

"Would it not be less a sin to end it all—to make way for some man who was not cursed before he was born? Surely it would not be a sin to lay it all down—no matter the way—to end it all—to make way—"

A little child, turning to go into one of the shops, brushed lightly against him, and he started. When he looked up his face was tragic. Through the daze came a recollection. Surely it was here, the fifth door from the corner, that he was going. It was a toy-shop he was looking for. Yes, that was the name—Schotz. For the son had said he wanted toys. The father entered the shop, though he saw but dimly. His mind was turned in on its own sorrows, and he went in, muttering to his own ears: "To end it all—to make way."

He had to wait for a moment while the mite who had ushered him in made a purchase. It was a girl child. She was too awe-struck by the glories laid before her to talk; but she managed to point with a fat forefinger [11] to the penny doll she desired. The gesture with which she seized it brought—strangely enough—a smile to the deep-set eyes of the stranger who stood watching her. His face was quite different when he smiled. Lines which had seemed nothing but deep-graven channels for sorrow became paths for tenderness. Outside he heard her break into excited, high-voiced triumph, which was mingled with the chatter of her mates.

The little shop was a modest place. On one side was a counter where, safe under glass, were home-made candies and cakes, with a rosy-cheeked apple or two. But, lining the walls, tumbling over shelves, crowded into old-fashioned presses, were the toys. There were dolls, of course, patrician wax dolls with delicate eyebrows of real hair, hearty, wooden-jointed dolls that were a real comfort to little mothers. There were wheels of fortune where one could see[12] a steeple-chase if he spun hard enough to make the horses vault the hurdles. There was a fascinating confusion of supplejacks, house furniture, houses of Oriental magnificence, little imported German toys—horses, trees, dogs. As the Man's melancholy eyes comprehended all that the place contained to minister to childish delight, something of the bitterness left them. In its place was a curious inertness. One would have said that the man's being was paralyzed with doubt.

The next instant he had seen something that brought grief back again—something that reminded him of his burden. For, marching valiantly over the shelves, storming wooden boxes flanked with cannon, were toy soldiers. There were, too, all the necessary trappings of combat—swords, guns, soldier suits, arrayed in which youthful generals could marshal their forces and sweep [13] the enemy's army before them—while their fathers elsewhere learned the tragedy of war.

Behind the counter was a pretty, young-faced woman, who looked her fifty years only from the softness sometimes brought by the records of many days. She smiled at him in friendly fashion and, unhurried, waited his request. While she reached for the toys the son had asked for, the Man, bent over the counter, fingered the dolls left lying there from the last small purchaser with clumsy, gentle fingers.

"Who makes that 'dolly' furniture?" he asked, idly. "I wish I could get any one to work for me one-half so well. Carved, too. I didn't know there were tools fine enough to make those tiny wreaths."

Mrs. Schotz shook her head at him good-humoredly.

[14]

"My man, he speak English. I—not—can." Following her gesture, the stranger saw, in the back part of the shop, a patient figure at work.

Joseph Schotz was sitting in an invalid-chair, a table littered with tools and bits of wood by his side. One leg, bandaged and swathed, rested on a cushion. His strong peasant face was seamed and drawn with pain.

The Man was beside him in an instant.

"Yes, I make the dolls' houses and carve the furniture—great work, that, for a man, sir? I used to be a cabinet-maker at Annapolis—before my leg got so bad. No, sir, I did not learn my trade there. I was apprenticed to Cadieux, who was cabinet-maker to Napoleon. Yes, the Emperor. Who else could it have been? But that was after those pigs of Russians shot me in the leg. It was their ball that brought me here," with a contemptuous glance at his bandaged[15] leg. "I was color-bearer—you see, I was too young to go in any other way. I was sixteen when I was wounded."

The Man found himself a chair.

"Why, no, sir, it isn't much of a story. It is only that I could never stay still. I don't believe men were ever meant to. That's why it's—" He checked himself with a glance at his wife. "I was born in the Tyrol, but the name of Buonaparte pulled me to France. Why, sir, I don't know what it was, but he is the only great man I have ever known. He made you drop everything and go with him, that is all. We never stopped to ask what it was, but—he knew his soldiers, he didn't know what it was to be afraid—and where he wanted to go he went."

The Man, who had been listening thus far with sympathy, started—at these last words—into tenseness.

[16]

"Did your Napoleon never—doubt?" he asked, with rather a breathless voice.

"If he did, no one ever saw him," chuckled the cabinet-maker, indulgently. "That was why we followed him. It sounds like very little, but—if he could call me to-day, I'd jump up and hop on one leg after him."

Had Joseph Schotz not been lost in the one story that never failed to thrill him—of his shattered dreams and his hero—he would have noticed that the face of the tall man who sat before him had lapsed into hopelessness. This time there was even something desperate in the eyes. But Napoleon's color-bearer went on:

"But you see—instead of that I'm here." He glanced at his leg again with a repressed passion of bitterness, which made him in some dark way kin to the man who listened. "It was when I couldn't fight for him that I learned to carve the wreaths on the chairs at the [17] Tuileries—after all, that was near the end.... It is never as the Emperor on his throne that I think of him—I have seen him so—or as the general on horseback; but as the soldier in his gray overcoat going about among us. He had a way of standing, sir, as if you couldn't dislodge him—that was Buonaparte."

Mrs. Schotz had gone back to the counter with the toys the stranger sought. With an irresolute effort he moved listlessly toward them. There was a whole regiment of little men in blue, and with them a gorgeous officer in gold-decked uniform waving his sword above a prancing steed. The Man laid his hand upon the toy and moved it absently into position at the head of the men. The brave general toppled spinelessly over when the great gnarled hand was removed. The woman shook her head.

[18]

"He not—can—stand," she said, in her hesitating English. "Too heavy—of the—head. This"—substituting a plain little captain with modest sword held at attention—"this stand so you—not—can—dis—lodge him."

The Man raised his head alertly as the woman echoed so unconsciously her husband's words. The movement was a quicker one than could have been expected from the languor of the whole figure. He gave a quick glance from the man to the woman and then at the toy soldiers. Then he squared his shoulders. His hand closed again upon the top-heavy little general and, half-absently, swept him aside. The plain little officer was moved into position. The officer stood. A light that was half humor and half inspiration broke upon the rugged face of the Man who bent over them both.

[19]

"No more generals on horseback," he muttered. "My man may ride when it is necessary, but he must know how to walk, too. I want one—I wonder if I know him—who 'stands so you can't dislodge him' and who 'knows his men.' Perhaps they have given me the answer to it all. Perhaps, after all, I can find him. Perhaps. And 'where he wants to go'—was that the word?" He pored over the toys. The woman went back to her knitting. The click of needles or the noise of a tool raised or laid down was the only sound heard in the shop.

"Are you buying the soldiers for your boys? It's wonderful how they take to them these days." The voice of the cabinet-maker broke the stillness. He repeated the question before the Man heard. And even then the answer was slow in coming.

[20]

"I have but one boy to buy toys for—now," said the man, at length. "The other one—that is left—is too old. And, in spite of all, the child must be made happy."

He turned again to the soldiers as if they contained the answer to some question. His eyes fell again upon the captain. He nodded as though he recognized some one. "I believe I—know," he thought, half-fearfully. "He 'stands so you can't dislodge him'—he 'doesn't know what it is to be afraid'—he 'walks about among his men'—he 'knows them.'" The man seized the officer almost fiercely and held it in his big hand.

"I will put him there. He will stand. And"—his face lit up with sudden fire—"and 'where he wants to go' he shall go, please God!"

He swept the soldiers into a heap and pushed them from him, waiting impatiently while Mrs. Schotz deftly made them up into a parcel. But [21] when that was done he still lingered. Suddenly he turned to Joseph Schotz with a sort of desperation.

"Did he never—waver—your Napoleon—even when he watched thousands of you—even men with children—die, and die because he placed you there—bound in the shambles?"

The cabinet-maker raised his head from his work in surprise. The inexplicable agony in the face of the other man brought an unusual thoughtfulness into the peasant's face.

"I do not know"—he hesitated—"I am not sure. He must have felt—but no one ever saw him. He could not stop. There was not a moment when, if he had halted—even to pity—all the great Thing he was building would not have fallen about his ears—and carried all France down with it. No, he could not stop. If he had been of those who [22] falter"—here Schotz shrugged his shoulders with the gesture of the Frenchmen he had fought among—"Buonaparte should not have played the game of war."

The tall man winced. He looked for a moment as if the cabinet-maker had taunted him—knowing. Then he straightened his shoulders. His face hardened into lines of steadfastness and determination. Taking up his parcel—

"Thank you," he said, with a deeper intonation than one would have expected in return for so slight a deed—"thank you," he said to Joseph Schotz, and wrung his hand with a grasp that hurt. Then he hurried out.

When they had watched the great figure out of sight—

"Who is he—that tall man? Do you know, my wife?" asked Joseph Schotz, in their own tongue.

[23]

"Some American," replied his wife, with democratic unconcern. Then when her husband continued to gaze earnestly at the door from which their guest had departed, "A sad-looking man, I think."

"Yes, he is one that carries with him the sorrows of the world. When he came into the world he had already known what it was to sorrow. Men like that must learn to laugh or they cannot live."

"What does it matter?" she said, rallying him. "He is not thy Napoleon."

"No, he is not Napoleon," replied the man, quickly, looking down at his hand, still red from the pressure of the bony fingers. "No—Napoleon never played—with toys."


Joseph Schotz was weaker in the summer heat when the Man next came to the toy-shop. The wife was at market, so there was nobody [24] in the place save Joseph and the little neighbor girl who was being taught to take in pennies like a woman grown. She was not an altogether profitable clerk, however, for she outdid Mrs. Schotz in giving too good measure for the pennies. But there was need for her help, and soon there would be—more.

The Man entered the shop eagerly. From his remembering glance that comprehended the place to its farthest shelf one would have said that he had just left it. He was stooping and careworn, but his eyes sought the toys with expectation. And as he dwelt upon this spot which ministered to pure delight—a territory consecrated to those flowerings of grown-up fancy which the children call toys—his bent shoulders straightened and his deep eyes began to smile. For a few moments he said nothing. He was like a man who was drinking great draughts of water, [25] a parched man, new from desert sands. At last he crossed to where Joseph waited.

"I found my man," he began, with outstretched hand. Then he checked himself, realizing that Joseph could not know. In that moment he saw the ravages that suffering had wrought upon the sick man's face, and a new look came into his eyes.

"How is it with you, my friend?" he asked. His voice would have been tender had he not taken care to make it merely frank—as from one man to another who was bearing pain without words. Then Joseph saw that he was changed from the man who had sought the shop the December gone by. There was sorrow in the eyes, but there was no more despair.

"Some toy soldiers, please," the stranger said to the little girl who waited behind the counter. His tone had both firmness and purpose in it, [26] but it had changed into mere kindness when he turned again to Joseph.

"What do you think of our new general, friend Schotz?" he asked.

"He knows how to win victories," replied Joseph, "but—"

"It is long, is it not, too long? Would your Napoleon have ended it sooner?" The glance of the deep-set eyes was keen. At last he answered the uncertainty on the peasant's face with a great sigh.

"Yes, it is long—oh, more than that," he interrupted himself to say to the little clerk—"more soldiers than that." He crossed the room to give her a gentle pat on the cheek, a caress which somehow made her feel his impatience to be at play. "We need all you can get, all you have. We must reach the end quickly, no matter how many lives it may cost. That is the only way[27] to be merciful." He was talking now to himself. The child made round eyes, but she brought the legions out. Before they were all there the Man was back at the counter.

"Cannon, too—lots of them." His voice was absent, for he was arranging the soldiers into opposing camps. "There must be some plan which will end it. This box will do for a fort. This for another. This chap is making faces, but we'll use him, too. Into your shell, sir. It's the rampart we need." The jack-in-the-box was cut short in the midst of a horrible grimace.

"Was the boy pleased with his toys?" asked Joseph Schotz from his end of the room. His voice was wistful; he had never needed to use his skill for the delight of children of his own.

"Yes, my friend."

[28]

"Yes, there is indeed a change in the Man since his first visit," thought Joseph. The smile with which the guest looked up from his toys warmed the sick man's heart, about which a chill had been gathering.

"But he wants more. He always does." There was the purest delight in the father's face as he spoke. "Just the other day I came across an upper chamber in our house which was full of toys. They were all forgotten; but each one had made him happy for a day. That's the thing. He doesn't even have to learn his lessons from them as I do." He smiled whimsically. "I am trying to give him all the toys I—didn't have. And"—his voice died away, and he forced the words with difficulty—"he must have all that I meant to give the boy who—went away."

"You mustn't spoil him," said Schotz, after a moment, with the perfunctory morality of the childless man.

[29]

The smile broke out again. "Bless you, you can't spoil children with love. Why, my boy plays with his soldiers, but he doesn't know that war is anything but a game. I wish his father could win battles with toy soldiers and tin swords." His eyes were drawn back to the counter. The next moment he was lost to every sight and sound.

Marvellous operations were soon in progress on the counter. One set of men was intrenched behind all the boxes within sight. Advance and retreat—shifting to right and to left—both sides alert, one would have said—they seemed so under the great hands that hovered over them—the besieged army handled with the same cool intelligence—both sides manœuvred for position.

The cuckoo-clock in the corner struck eleven. The little clerk stared with mouth open at the big[30] man who played with toys. Schotz watched him with questioning eyes as the stranger knitted shaggy brows over some problem that baffled him.

Creeping over nearer, closing in around by patient degrees, came the army marshalled by the plain little officer, with sword at attention, marching on foot at the head of his men.

"I have it!" cried the Man, in heart-felt triumph. He looked up. There was a dawning realization of his audience.

"A queer thing for an old man like me to be playing with toy soldiers," he laughed, sweeping the late combatants into an undignified heap.

"So have I seen the officers at home in the école de guerre. Such play would aid you were you a soldier."

[31]

The tall man shot a quick glance at Joseph, in which there was much humor and some suspicion.

"Tell me—" he began. But he did not finish his sentence. He was feverishly anxious to be gone. There was so much to be done; the child's fingers were clumsy as she wrapped up the soldiers. But he found time for a smile at the little maid and a sympathetic pressure of Joseph's hand before he crossed the threshold and was gone.

At the same moment there was a bustle at the door. Mrs. Schotz hurried in, market-basket in hand. She had not laid it down before she was at her husband's side, her anxious eyes searching his face to find how he had fared.

"Clara, the tall man has been here again."

"Yes," she said, "I met him. Do you know yet who he is?"

"I have thought that I have somewhere seen [32] a face like that," replied Joseph, slowly. "Something made me feel—his playing with the soldiers, which yet seemed more than play—he might be in the army—he might even be an officer—and yet he had not the air. Still, they are not all drilled in schools, these officers in this war."

"But listen," said his wife, as she seated herself by him, with joy that there was something to tell that he would be glad to hear. "I have something to tell you. This morning, on my way to market, everywhere there were soldiers—dirty, lean as from hunger, faces black with powder stains. At first I was afraid—"

"But, my wife," said Joseph, indulgently, "what was there to be feared?"

"I will tell you. A crowd of soldiers came swaggering into Schmidt's. They ordered him to wait on them, and when he asked for money for the food, they shook their fists [33] at him with ugly words, and called for all to come and take what they would. Two officers hurried up and ordered them to return to their ranks, but they laughed at the officers."

"Mutiny!" whispered Napoleon's soldier, his face pale with excitement.

"They swore oaths and said that they would fight no more battles for men who were old women and stayed at home while they sweated and bled and were starving."

"Without doubt their officers ordered them into arrest?" demanded Joseph, fiercely.

"Who was there to arrest them? The officers looked white, and I was trembling. More soldiers came into the square, until everywhere there were angry faces and bodies swaying this way and that, while the men were thinking what evil they should do. At that moment a carriage drove up at full speed. [34] There was one man in it. He stood up; he was a tall man. A hesitating sort of shout went up from the soldiers. Then there was a great muttering, and every one rushed toward him, and some were shaking their fists.

"The man stood still. He said no word. But little by little the muttering stopped and there was silence. Then the crowd began backing away from him. There was a break in the mass, and through it I saw his face. He was smiling with—well, the way fathers look at their children that have hurt themselves because they were naughty and are yet not very bad. Still there was silence."

"He held them so?" broke in Joseph. "But then he was a great man. But who?"

"Wait. He began talking to them. I couldn't hear what he said, for all the men began crowding up around him. But one moment [35] they laughed, and the next they were wiping their eyes with the back of their hands."

Joseph was listening with shining eyes.

"When he had driven off again the soldiers went back to their camp. Some of them looked downcast and ashamed, but most of them were just boyish and good-natured, as if they had forgotten how they felt before. One boy laughed as he passed me:

"'Say, that was a good one about the tin soldier. I felt like a toy soldier myself when he turned those eyes of his on me!'"

"Who was it?" asked Joseph Schotz, eagerly. "Have they such a man? Was it the new general? I have thought he might be such a man—to win such victories. And yet"—his face fell—"that one is a short man, and this, you said, was very tall."

[36]

"The general? No!" said Mrs. Schotz, contemptuously. "It was not the general. As he drove off, some boys shouted, 'Hurrah for the President!'"

"The President!" Joseph echoed.

"The President. And, Joseph, when I saw his face I knew him." She paused to make sure of the effect upon her petted invalid of what she had to say. "It was he who came to us to buy toy soldiers!"

She fell back triumphantly when she had fired this bolt of wonder. But Joseph was looking at her with eyes in which there was no wonder—only comprehension.

"So," he said, slowly—"so—that was the President. So Napoleon would have done."


The doctor had told Joseph that he must go to his bed. The old soldier winced. A man may be brave before bullets and yet quail before the doctor. The bed was brought down [37] into the little kitchen back of the shop. Joseph insisted on it.

"It is that I may be able to help you tend the shop," he said. But the real reason was that he might not be banished from the children's domain. He could still see Minna and Rosa and Bennie come for their toys.

Thus it happened that one morning Joseph sat propped up in his narrow wooden bed. Mrs. Schotz bustled, with much demonstration of activity, about her work. Joseph almost wished that she would go up-stairs. He was forced to keep up an appearance of much cheerfulness—if he screwed up his face when the pain came, she wept.

"I wonder if the President will come to-day," he thought. "He said he would as soon as he got back. I want to see how he looks since the surrender. Strange that it should have been on Palm Sunday." His eyes [38] strayed to the mantel-piece, where a spray of palm waved from a gilt vase. The wife had had it in her hand when she came in from the street with the news the day before.

"If he would come, it would be easier," thought Joseph. "He would take my hand and look deep into my eyes—it would be as if he took some of the pain away from me—into his own heart." And then, because some childishness is permitted to the sick, he moved peevishly in his bed and thumped his pillow.

Suddenly the door opened. It was the President. Still, a different President—almost a new one. His shoulders were straight and held well back. He walked with a sort of joyous impatience, as though he brushed aside palms of victory. His eyes glowed. He spoke as he entered, and his voice broke into a boyish laugh. When he looked into the room and saw [39] Joseph, the full meaning of the change struck him and his face fell. For a moment he looked almost abashed. Then, shaking his head with decision, he strode through the shop to where the sick man lay. He took Joseph's hand with resolute happiness and held it, looking full into the other man's eyes. There was no need of words between them. A heartening and a tonic influence went from one man to the other.

"It is over, friend Schotz," he said, buoyantly. "The nightmare is over; we are awake." He paused and added, under his breath, with humble, halting reverence, "Thank God!"

"They have surrendered." Joseph Schotz raised himself on his elbows.

"It was the meeting of two great men," said the President. "Mine and the other. He's a general after our own hearts—eh, Schotz—the modest [40] man you helped me to choose!"

The sick man's face was every minute taking on the lines of hope and manly force. The other man watched him with tender eyes, in which the pity was carefully veiled.

"Yes, we chose him well, my President," said Joseph, with almost a swagger.

"You will never know how great is my gratitude, Schotz," suggested the President, "because you can never know from what you saved me—you and the toy-shop. The day when first I came here I had fallen into a pit digged by my own nature. You showed me the way out." His eyes were on the sick man, and he chose the words that would hearten most. "It was a great service you did me—and, through me, this great land of ours."

There was a light in Joseph's eyes that had been absent for many days.

[41]

"And now it is over." The President drew a breath so great that his gaunt frame expanded. He settled into a chair near the bed with a sigh of restfulness. "The boys will come home. Their mothers will meet them. Their fathers will grip their hands. No, I will not think of those who will be missing—the time for that has passed. The children will hang about their father's neck. And they will be together." The light grew in the President's eyes, until it seemed they blazed with a love which was that of child and father in one and contained the passion and tenderness of the universal lover.

Then the President rose, shaking himself like a great spaniel and laughing from delight in living.

"There are things to be done—oh, the fight is not over. Perhaps it is only begun. But to-day is my perfect moment—the first perfect moment of my life, God knows." He paused [42] and raised himself to his full stature—challenging his fate. "It is enough to have lived for. I am content!"

He turned to Schotz again, and his face was radiant with steadfast brightness.

"There will be a future, my friend. We are ready for it, are we not? I know the path will be clear. I have begun—the first thing to be done is to heal. Beyond that"—he paused, and his forehead contracted slightly as if from doubt—"all is in the shadow." A veil made vague the joyousness of his eyes. It seemed to Joseph that his great friend was looking upon something that he himself could not see. The face brightened—the eyes opened wide—became luminous.... The President took up his words in an altered tone. "Beyond that—I cannot see," he ended, happily.

Joseph watched him for a moment. Then, uneasy, he put out his hand and touched him timidly [43] on the sleeve. The President smiled at him again. There seemed to be no transition, and yet—they were back again in the world where things were to be done and—borne.

"And now, friend Joseph" (the President took up again the task he had set himself in the shadowed toy-shop), "when we were in the conquered city I found a toy—" He interrupted himself to laugh. "It was the only loot I permitted myself."

Joseph stared at him with puzzled expectation.

"For, after all, toys are the only things that are worth the consideration of wise folks like you and me." He was busily extricating a package from his pocket. It was done up in many wrappings. He watched while the sick man pulled off the papers, one after another. Joseph became angry with them—they seemed endless. Then the President chuckled [44] gleefully, for he saw the color coming into Joseph's face. At last the toy stood in Joseph's hand revealed—a little tin soldier. Joseph looked at it in wonder.

"But what—?" he began. Then, "Why, it is the old uniform—he carries the tricolor. Where did you find Napoleon's soldier, my President?"

The President watched him tenderly.

"That is my secret, friend Joseph. Does he look to you like the little color-bearer, my friend, that marched gayly out, in the sparkling sunshine? But see—he is no child—his hair is gray." He bent forward. He saw a spasm of pain contract the worn face. He saw the involuntary movement of muscles when tortured nerves cry out. He saw the stark will of the man who sternly commanded his anguish to be decent and to make no moan.

[45]

"He is a soldier, my Joseph, one of my soldiers, and in the evening he is doing the greatest deed of all." The President's voice had sunk into a cadence which was melodious with all the pain the world has known—and all the joy. He held with his own the sufferer's eyes so that he could not fail to understand.

"He is a hero—!"

The President sat with the sick man in a pregnant silence, while the color came back into the face of the man on the bed. At last there came a smile. When he was satisfied that his work was done, the President rose. For a moment his hand touched Joseph's brow as the sculptor does his clay, with that touch which is a caress.

"And now, friend Joseph, good-bye."

After he had gone, Joseph looked at the toy the President had left. He put it to his lips. He held it to his meagre chest. And thus they lay, [46] the man and the toy, until the exultation on Joseph's face softened into perfect peace.

"Toys—toys—" So his thoughts sang themselves. "Toys. Nothing else is real. Toys of tenderness—toys of mirth—toys that sail a man back to childhood—toys that sweep a man into manhood—and beyond." He held the color-bearer passionately close. "A hero!" he said. "Thank God for the man who knows our hearts. The world is his toy-shop and men and women are his toys. He can use everybody—it makes no difference how ugly a toy may be. He loves them even when they are naughty—just like a little girl when she spanks her dolly." Joseph smiled at his own thoughts with tenderness.... "Just like the Christ who suffers us to come to Him."

"I wonder ... is it because he loves people or because he plays with [47] them that he is so far above them?—I believe he is very far off—looking on. He is really neither smiling nor looking sad—just seeing."

The room was quiet. The pain had ceased. Joseph clasped his toy and slept.


Into the damp night air drifted suddenly a wave of sound. It startled Mrs. Schotz, who sat at work by the lamp, watching late into the night. Even as she lifted her head to listen it swelled into a distant growl of thunder, threatening, sullen. A startled voice came from her husband's bed asking what the noise might be. Before she had time to answer, the door burst open, and their neighbor, the cobbler's wife, ran into the shop.

"Have you heard," she shrieked—"have you heard? They have killed him, the good [48] President!" With the last word she was out of the door.

Joseph fell back and lay still. His hands were clinched and his lips were locked. He tried to lock his heart, too. He did not dare to feel....

"'A hero.'" he thought. "He called me that." The sound of his wife's sobbing filled the room.... No, it would never do to weep. "Ah-h!" A pang greater than he had ever known shattered him. He held that down, too. It was then that a great thought came to him—the pain taught him.

"The same future, then, for him and for me."

He lay very still while the thought grew and filled him. The sound of his wife's sobbing sank lower and lower. She crept close to her husband and laid her hand on his. He took it gently in his weak fingers, and [49] thus they remained. The room seemed empty.

"They killed him, too, thy Napoleon," at last his wife said, timidly. Joseph started. The name of the old god made him know how far he had gone. For a moment he felt shame, as though he, too, had betrayed. Then he spoke:

"If the Emperor, too, had had—toys—and if he had played with them; if he had been able to laugh at the world and—yes—a little at himself; if he had been able to laugh at himself—and cry over other people—he would not have stayed at St. Helena. And ... he would have been almost as great as the President."

Mrs. Schotz started forward and put her face close to that of her husband. She spoke with her eyes on his eyes.

"You say—that—my Joseph?"

He nodded his head weakly but with meaning. [50] And both were silent with that silence which follows truth proclaimed.

After a few minutes he took up his thought again.

"I thought, my wife, that the end of life had come for me when I knew that I should have to sit here in the shop the rest of the days of my life and make toys for children. Now I know that it was but the beginning. He taught me. There could be nothing greater. The toys will live in the homes of the children. They will find them, too, the toys he bought for his boy—after he has gone. But not every one will know the work that they have done. Nor will all the toys the President left be so easily discovered.... I, too, am his toy."

He stopped, for he was weak. After a time, when he had lain gazing at the wall with a look that was new to his face, an eager look that made [51] his wife break into hopeless but silent sobbing, he said:

"It is enough to have made him smile."

When the President had been carried to his rest it came to pass that men whom the dead man had not known were called into the house to make ready for those who were to come. Through the long hours of the day they toiled. The garments that the President had worn and those things which he had used in his labor were placed aside. When it was evening they came upon an upper chamber full of toys. The men closed the door hastily and came away. But at night when they drew near to their own homes they kissed more tenderly the children who ran to meet them from their open doors.

titlepage

Transcriber's note:

In general every effort has been made to replicate the original text as faithfully as possible, which may include some instances of no longer standard spelling. The hyphenation is occasionally variable, notably in the usage of "Toy Shop" in the cover pages and toy-shop elsewhere; this has not been altered.






End of Project Gutenberg's The Toy Shop, by Margarita Spalding Gerry

*** END OF THIS PROJECT GUTENBERG EBOOK THE TOY SHOP ***

***** This file should be named 39829-h.htm or 39829-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/3/9/8/2/39829/

Produced by David Edwards, Paula J. Franzini and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive)


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org/license

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.