Mrs Yabsley came to the door for a breath of fresh air, and surveyed Cardigan Street with a loving eye. She had lived there since her marriage twenty years ago, and to her it was the pick of Sydney, the centre of the habitable globe. She gave her opinion to every newcomer in her tremendous voice, that broke on their unaccustomed ears like thunder:
"I've lived 'ere ever since I was a young married woman, an' I know wot I'm talkin' about. My 'usband used ter take me to the play before we was married, but I never see any play equal ter wot 'appens in this street, if yer only keeps yer eyes open. I see people as wears spectacles readin' books. I don't wonder. If their eyesight was good, they'd be able ter see fer themselves instead of readin' about it in a book. I can't read myself, bein' no scholar, but I can see that books an' plays is fer them as ain't got no eyes in their 'eads."
The street, which Mrs Yabsley loved, was a street of poor folk—people to whom poverty clung like their shirt. It tumbled over the ridge opposite the church, fell rapidly for a hundred yards, and then, recovering its balance, sauntered easily down the slope till it met Botany Road on level ground. It was a street of small houses and large families, and struck the eye as mean and dingy, for most of the houses were standing on their last legs, and paint was scarce. The children used to kick and scrape it off the fences, and their parents rub it off the walls by leaning against them in a tired way for hours at a stretch. On hot summer nights the houses emptied their inhabitants on to the verandas and footpaths. The children, swarming like rabbits, played in the middle of the road. With clasped hands they formed a ring, and circled joyously to a song of childland, the immemorial rhymes handed down from one generation to another as savages preserve tribal rites. The fresh, shrill voices broke on the air, mingled with silvery peals of laughter.
What will you give to know her name,
Know her name, know her name?
What will you give to know her name,
On a cold and frosty morning?
Across the street comes a burst of coarse laughter, and a string of foul, obscene words on the heels of a jest. And again the childish trebles would ring on the tainted air:
Green gravel, green gravel,
Your true love is dead;
I send you a message
To turn round your head.
They are ragged and dirty, true children of the gutter, but Romance, with the cloudy hair and starry eyes, holds them captive for a few merciful years. Their parents loll against the walls, or squat on the kerbstone, devouring with infinite relish petty scandals about their neighbours, or shaking with laughter at some spicy yarn.
About ten o'clock the children are driven indoors with threats and blows, and put to bed. By eleven the street is quiet, and only gives a last flicker of life when a drunken man comes swearing down the street, full of beer, and offering to fight anyone for the pleasure of the thing. By twelve the street is dead, and the tread of the policeman echoes with a forlorn sound as if he were walking through a cemetery.
As Mrs Yabsley leaned over the gate, Mrs Swadling caught sight of her, and, throwing her apron over her head, crossed the street, bent on gossip. Then Mrs Jones, who had been watching her through the window, dropped her mending and hurried out.
The three women stood and talked of the weather, talking for talking's sake as men smoke a pipe in the intervals of work. Presently Mrs Yabsley looked hard at Mrs Swadling, who was shading her head from the sun with her apron.
"Wot's the matter with yer eye?" she said, abruptly.
"Nuthin'," said Mrs Swadling, and coloured.
The eye she was shading was black from a recent blow, a present from her husband, Sam the carter, who came home for his tea, fighting drunk, as regular as clockwork.
"I thought I 'eard Sam snorin' after tea," said Mrs Jones.
"Yes, 'e was; but 'e woke up about twelve, an' give me beans 'cause I'd let 'im sleep till the pubs was shut."
"An' yer laid 'im out wi' the broom-handle, I s'pose?"
"No fear," said Mrs Swadling. "I ran down the yard, an' 'ollered blue murder."
"Well," said Mrs Yabsley, reflectively, "an 'usband is like the weather, or a wart on yer nose. It's no use quarrelling with it. If yer don't like it, yer've got ter lump it. An' if yer believe all yer 'ear, everybody else 'as got a worse."
She looked down the street, and saw Jonah and Chook, with a few others of the Push, sunning themselves in the morning air. Her face darkened.
"I see the Push 'ave got Jimmy Sinclair at last. Only six months ago 'e went ter Sunday school reg'lar, an' butter wouldn't melt in 'is mouth. Well, if smokin' cigarettes, an' spittin', and swearin' was 'ard work, they'd all die rich men. There's Waxy Collins. Last week 'e told 'is father 'e'd 'ave ter keep 'im till 'e was twenty-one 'cause of the law, an' the old fool believed 'im. An' little Joe Crutch, as used ter come 'ere beggin' a spoonful of drippin' fer 'is mother, come 'ome drunk the other night so natural, that 'is mother mistook 'im fer 'is father, an' landed 'im on the ear with 'er fist. An' 'im the apple of 'er eye, as the sayin' is. It's 'ard ter be a mother in Cardigan Street. Yer girls are mothers before their bones are set, an' yer sons are dodgin' the p'liceman round the corner before they're in long trousers."
It was rare for Mrs Yabsley to touch on her private sorrows, and there was an embarrassing silence. But suddenly, from the corner of Pitt Street, appeared a strange figure of a man, roaring out a song in the voice of one selling fish. Every head turned.
"'Ello," said Mrs Jones, "Froggy's on the job to-day."
The singer was a Frenchman with a wooden leg, dressed as a sailor. As he hopped slowly down the street with the aid of a crutch, his grizzled beard and scowling face turned mechanically to right and left, sweeping the street with threatening eyes that gave him the look of a retired pirate, begging the tribute that he had taken by force in better days. The song ended abruptly, and he wiped the sweat from his face with an enormous handkerchief. Then he began another.
The women were silent, greedily drinking in the strange, foreign sounds, touched for a moment with the sense of things forlorn and far away. The singer still roared, though the tune was caressing, languishing, a love song. But his eyes rolled fiercely, and his moustache seemed to bristle with anger.
Le pinson et la fauvette
Chantaient nos chastes amours,
Que les oiseaux chantent toujours,
Pauvre Colinette, pauvre Colinette.
When he reached the women he hopped to the pavement holding out his hat like a collection plate, with a beseeching air. The women were embarrassed, grudging the pennies, but afraid of being thought mean. Mrs Yabsley broke the silence.
"I don't know wot ye're singin' about, an' I shouldn't like ter meet yer on a dark night, but I'm always willin' ter patronize the opera, as they say."
She fumbled in her pocket till she found tuppence. The sailor took the money, rolled his eyes, gave her a magnificent bow, and continued on his way with a fresh stanza:
Lorsque nous allions tous deux
Dans la verdoyante allee,
Comme elle etait essoufflee,
Et comme j'etais radieux.
"The more fool you," said Mrs Jones, who was ashamed of having nothing to give. "I've 'eard 'e's got a terrace of 'ouses, an' thousands in the bank. My cousin told me 'e sees 'im bankin' 'is money reg'lar in George Street every week."
And then a conversation followed, with instances of immense fortunes made by organ-grinders, German bands, and street-singers—men who cadged in rags for a living, and could drive their carriage if they chose. The women lent a greedy ear to these romances, like a page out of their favourite novelettes. They were interrupted by an extraordinary noise from the French singer, who seemed suddenly to have gone mad. The Push had watched in ominous silence the approach of the Frenchman. But, as he passed them and finished a verse, a blood-curdling cry rose from the group. It was a perfect imitation of a dog baying the moon in agony. The singer stopped and scowled at the group, but the Push seemed to be unaware of his existence. He moved on, and began another verse. As he stopped to take breath the cry went up again, the agonized wail of a cur whose feelings are harrowed by music. The singer stopped, choking with rage, bewildered by the novelty of the attack. The Push seemed lost in thought. Again he turned to go, when a stone, jerked as if from a catapult, struck him on the shoulder. As he turned, roaring like a bull, a piece of blue metal struck him above the eye, cutting the flesh to the bone. The blood began to trickle slowly down his cheek.
Still roaring, he hopped on his crutch with incredible speed towards the Push, who stood their ground for a minute and then, with the instinct of the cur, bolted. The sailor stopped, and shook his fist at their retreating forms, showering strange, foreign maledictions on the fleeing enemy. It was evident that he could swear better than he could sing.
"Them wretches is givin' Froggy beans," said Mrs Swadling.
"Lucky fer 'im it's daylight, or they'd tickle 'is ribs with their boots," said Mrs Jones.
"Jonah and Chook's at the bottom o' that," said Mrs Swadling, looking hard at Mrs Yabsley.
"Ah, the devil an' 'is 'oof!" said Mrs Yabsley grimly, and was silent.
The sailor disappeared round the corner, and five minutes later the Push had slipped back, one by one, to their places under the veranda. Mrs Jones was in the middle of a story:
"'Er breath was that strong, it nearly knocked me down, an' so I sez to 'er, 'Mark my words, I'll pocket yer insults no longer, an' you in a temperance lodge. I'll make it my bizness to go to the sekertary this very day, an' tell 'im of yer goin's on.' An' she sez...w'y, there she is again," cried Mrs Jones, as she caught the sound of a shrill voice, high-pitched and quarrelsome. The women craned their necks to look.
A woman of about forty, drunken, bedraggled, dressed in dingy black, was pacing up and down the pavement in front of the barber's. She blinked like a drunken owl, and stepped high on the level footpath as if it were mountainous. And without looking at anything, she threw a string of insults at the barber, hiding behind the partition in his shop. For seven years she had passed as his wife, and then, one day, sick of her drunken bouts, he had turned her out, and married Flash Kate, the ragpicker's daughter. Sloppy Mary had accepted her lot with resignation, and went out charring for a living; but whenever she had a drop too much she made for the barber's, forgetting by a curious lapse of memory that it was no longer her home. And as usual the barber's new wife had pushed her into the street, staggering, and now stood on guard at the door, her coarse, handsome features alive with contempt.
"Wotcher doin' in my 'ouse?" suddenly inquired Sloppy, blinking with suspicion at Flash Kate. "Yous go 'ome, me fine lady, afore yer git yerself talked about."
The woman at the door laughed loudly, and pretended to examine with keen interest a new wedding ring on her finger.
"Cum 'ere, an' I'll tear yer blasted eyes out," cried the drunkard, turning on her furiously.
The ragpicker's daughter leaned forward, and inquired, "'Ow d'ye like yer eggs done?"
At this simple inquiry the drunkard stamped her foot with rage, calling on her enemy to prepare for instant death. And the two women bombarded one another with insults, raking the gutter for adjectives, spitting like angry cats across the width of the pavement.
The Push gathered round, grinning from ear to ear, sooling the women on as if they were dogs. But just as a shove from behind threw Sloppy nearly into the arms of her enemy, the Push caught sight of a policeman, and walked away with an air of extreme nonchalance. At the same moment the drunkard saw the dreaded uniform, and, obeying the laws of Cardigan Street, pulled herself together and walked away, mumbling to herself. The three women watched the performance without a word, critical as spectators at a play. When they saw there would be no scratching, they resumed their conversation.
"W'en a woman takes to drink, she's found a short cut to 'ell, an' lets everybody know it," said Mrs Yabsley, briefly. "But this won't git my work done," and she tucked up her sleeves and went in.
The Push, bent on killing time, and despairing of any fresh diversion in the street, dispersed slowly, one by one, to meet again at night.
The Cardigan Street Push, composed of twenty or thirty young men of the neighbourhood, was a social wart of a kind familiar to the streets of Sydney. Originally banded together to amuse themselves at other people's expenses, the Push found new cares and duties thrust upon them, the chief of which was chastising anyone who interfered with their pleasures. Their feats ranged from kicking an enemy senseless, and leaving him for dead, to wrecking hotel windows with blue metal, if the landlord had contrived to offend them. Another of their duties was to check ungodly pride in the rival Pushes by battering them out of shape with fists and blue metal at regular intervals.
They stood for the scum of the streets. How they lived was a mystery, except to people who kept fowls, or forgot to lock their doors at night. A few were vicious idlers, sponging on their parents for a living at twenty years of age; others simply mischievous lads, with a trade at their fingers' ends, if they chose to work. A few were honest, unless temptation stared them too hard in the face. On such occasions their views were simple as A B C. "Well, if yer lost a chance, somebody else collared it, an' w'ere were yer?"
The police, variously named "Johns", "cops" and "traps", were their natural enemies. If one of the Push got into trouble, the others clubbed together and paid his fine; and if that failed, they made it hot for the prosecutors. Generally their offences were disorderly conduct, bashing their enemies, and resisting the police.
Both Jonah and Chook worked for a living—Chook by crying fish and vegetables in the streets, Jonah by making and mending for Hans Paasch, the German shoemaker on Botany Road. But Chook often lacked the few shillings to buy his stock-in-trade, and Jonah never felt inclined for work till Wednesday. Then he would stroll languidly down to the shop. The old German would thrust out his chin, and blink at him over his glasses. And he always greeted Jonah with one of two set phrases:
"Ah, you haf come, haf you? I vas choost going to advertise for a man." This meant that work was plentiful. When trade was slack, he would shake his head sadly as if he were standing over the grave of his last sixpence, and say:
"Ah, it vas no use; dere is not enough work to fill one mouth."
Jonah always listened to either speech with utter indifference, took off his coat, put on his leather apron, and set to work silently and swiftly like a man in anger.
Although he always grumbled, Paasch was quite satisfied. He had too much work for one, and not enough for two. So Jonah, who was a good workman, and content to make three or four days in a week, suited him exactly. Besides, Jonah had started with him as an errand-boy at five shillings a week, years ago, and was used to his odd ways.
Hans Paasch was born in Bavaria, in the town of Hassloch. His father was a shoemaker, and destined Hans for the same trade. The boy preferred to be a fiddler but his father taught him his trade thoroughly with the end of a strap.
In his eighteenth year Hans suddenly ended the dispute by running away from home with his beloved fiddle. He made his way to the coast, and got passage on a cargo tramp to England. There he heard of the wonderful land called Australia, where gold was to be had for the picking up. The fever took him, and he worked his passage out to Melbourne on a sailing ship. He reached the goldfields, dug without success, and would have starved but for his fiddle. A year found him back in Melbourne, penniless. Here he met another German in the same condition. They decided to work their way overland to Sydney, Hans playing the fiddle and his mate singing. Then began a Bohemian life of music by the wayside inns, sleep in the open air, and meals when it pleased God to send them.
This had proved to be the solitary sunlit passage in his life, for when he reached Sydney he found that his music had no money value, and, under the goad of hunger, took to the trade that he had learned so unwillingly. Twenty years ago he had opened his small shop on the Botany Road, and to-day it remained unchanged, dwarfed by larger buildings on either side. He lived by himself in the room over the shop, where he spent his time reading the newspaper as a child spells out a lesson, or playing his beloved violin. He was a good player, but his music was a puzzle and a derision to Jonah, for his tastes were classical, and sometimes he spent as much as a shilling on a back seat at a concert in the Town Hall. Jonah scratched his ear and listened, amazed that a man could play for hours without finding a tune. The neighbours said that Paasch lived on the smell of an oil rag; but that was untrue, for he spent hours cooking strange messes soaked in vinegar, the sight of which turned Jonah's stomach.
Bob Fenner's dance-room, three doors away, was a thorn in his side. Three nights in the week a brazen comet struck into a set of lancers, drowning the metallic thud of the piano and compelling his ear to follow the latest popular air to the last bar.
His solitary life, his fiddling, and his singular mixture of gruffness and politeness had bred legends among the women of the neighbourhood. He was a German baron, who had forfeited his title and estates through killing a man in a duel; and never a milder pair of eyes looked timidly through spectacles. He was a famous musician, who had chosen to blot himself out of the world for love of a high-born lady; and, in his opinion, women were useful to cook and sew, nothing more.
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