Anthony the Absolute. Samuel Merwin

at all.”

      “Very well,” said I then, briskly, for I do not like to be ridiculed. “Just wait until I can get my phonograph.”

      “Your what?” said he.

      “My phonograph,” I repeated, with dignity. And I went upstairs for ft.

      When I came down, with the heavy instrument in its case under one arm and a box of new record cylinders under the other, he was not in the lounge. I passed on out to the porch, and found him there with two rickshaws waiting. When he saw me with my heavy burdens, he began laughing in that nervous, jumpy way he has. But I ignored him, and placed the boxes carefully in my rickshaw. We were about to start when I realized that I had forgotten my record-taking horn, so I went back for it.

      “Look here, old man,” said Crocker, from his rickshaw, when I reappeared, “it's all right, of course—I don't mind—but what on earth are you bringing all that junk for?”

      “You were so good as to explain that I would find the music interesting,” I replied. “You surely don't suppose that I trust my ear in this delicate research work. Why, my dear fellow, in my studies of our American Indian songs I have succeeded in recording intervals as close as the sixteenth part of a tone.”

      He was still grinning. “All right,” he said; “don't get stuffy. I'll be good. Hop into your rickshaw.”

      I did so. The coolies turned for directions. Crocker was about to give them when two of our fellow passengers, accompanied by their wives, stepped out of the hotel. Crocker waited, and we sat there, looking rather foolish, until they had passed on out of ear-shot; then he leaned forward and said in a low voice:

      “Number Nine.”

      “Heh!” cried the two coolies instantly, as one man, and wheeling about they ran the little vehicles out of the court and into the street.

      I must admit that my first impression of the Yokohama streets was rather disappointing—that is, until we turned a corner unexpectedly and entered the Yoshiwara district. The streets were much more like England than the Japan of my fancy. Crocker tells me that Yokohama was built up as a foreign concession for purposes of trade, and therefore is really not Japanese at all. But once in the Yoshiwara quarter my nerves began to tingle; for this was a bit of Japan.

      Crocker insists that it is small and tawdry compared to the Tokio Yoshiwara. Never having explored that portion of the capital, I can not say. To me it was quite enchanting. The houses were higher than is customary in Japanese cities. In color all were of the unpainted but pleasantly weathered shade of light brown that is so agreeable to the eye—very possibly they stain the wood, as we do in the case of our modern bungalows. There were little hanging balconies on the upper stories, with decorative festoons of colored paper lanterns. Through the windows and the open doorways one caught glimpses of the spring flowers and blossoms that play so great and fine a part in the esthetic life of this extraordinary people. And here and there, at a window or over a balcony railing, could be seen a face—a quaint and girlish face with glossy black hair done up fantastically high over wide shell combs and with glimpses of flowered silks about slim shoulders. The fragrance of the early cherry and plum blossoms was in the air.

      The famous “Number Nine” proved to be a large house at the end of the street. The door stood invitingly open. A well-trained servant took my two boxes and the horn and carried them in. Another servant guided us upstairs.

      The interior was cool and spacious. It differed in so many respects from photographs of typical Japanese house interiors that I decided it is really a foreign resort. Later inquiries this evening have confirmed this conclusion. In the actual Japanese house, the floor is elevated a foot or more and is also the seat; and in entering one passes first into a tiny hall on the street level, removes his shoes, then steps up to the floor proper. Here there was no such arrangement. We mounted steps, then walked through a broad hall that led into a central court full of flowers. The woodwork of floor and walls was of that characteristic and agreeable tan or natural shade. The rugs were simple and quiet in design and color.

      Our guide led us to a stairway. The boy with my apparatus looked to me for instructions, and I motioned him to follow. Then we mounted the stairs, and passed along a broad corridor overlooking the court to an office-like room in the corner that was furnished with European tables and chairs. On the way we passed an open doorway, and I caught a passing glimpse of a dim, large room, in which the only furniture appeared to be a low platform covered with a rug of light red.

      “That's where the geisha girls dance,” Crocker whispered.

      I nodded. I was looking forward with a good deal of interest to hearing the music that accompanies this performance.

      In the corner room we were welcomed very civilly by a little old woman, and tea was brought us. Then she said something to Crocker in a sort of pidgin-English which I did not quite catch. He nodded eagerly.

      It occurred to me, with some bitterness I am afraid, that the little old woman would never have thought of turning to me as the leading spirit—never in the world. She hardly looked at me. So I went on sipping my tea.

      A door opened, and in came a file of girls—fourteen of them. All were young; one, I thought, of not more than thirteen or fourteen years—though it is difficult for us of the West to judge accurately the age of Orientals. They shuffled along in their curious little shoes. Several seemed to me extremely pretty; all were small and dainty. Everything considered, they made a pleasing picture as they stood there, looking at us with a demure twinkling in each almond eye. I wondered what would come next. A dance, perhaps.

      Crocker had hitched forward in his chair and was looking rapidly from one end of the line to the other. His face was more flushed even than usual; his eyes were eager. Finally his gaze rested on the third girl from the right end of the line. I began to feel uncomfortable.

      After a moment he rose, and nodded toward that third girl. She promptly stepped forward. “See you later, old man,” he said to me bruskly, hardly looking at me, and then, laying down a gold coin and taking the girl's arm, hurried from the room with her.

      Left alone there, with the old woman and the thirteen girls, I found myself rather confused. It had not occurred to me that the business was to be rushed through with so mechanically, so brutally. The beauty of the building and the charm of these quaint little girls in soft-colored costumes had up to this moment held a strong lure for me. But suddenly the situation rang hard and metallic. It was, after all, just the problematic, age-old business in a new dress.

      And then I began to feel ashamed. After all, most men are direct and practical in these puzzling matters. They do not theorize, they do not shrink from rough facts. They take life as they find it, and pass on. Here am I (so ran my thoughts) drawing hack, refusing life, and that not in any firmness of purpose, but in a sort of fright!

      “I should like to see the geishas dance,” I managed to say.

      “No can do,” replied the old woman, with a gesture of her skinny hands. “One day—three day—must tell.” And she held up three fingers.

      “I don't understand you,” said I.

      “Geisha girls no have got—must go catchee two, three, four piecee girl; two, three, four piecee music. Two—three day you tell. No can do.”

      She evidently meant that it was necessary to give notice if one wished the geisha dance. And she was grinning at me now and pointing to the girls. I was being swept along in this brutal business. Otherwise, they would feel, why had I come to take up their time?

      I felt the color rushing into my face as I raised my hand and pointed at random. One of the girls came forward. The old woman held out her hand. I found a gold coin and dropped it on her palm; then turned for my apparatus, which the boy had set on a chair by the door. I made a rather awkward matter of picking it up, dropping the horn with a clatter. The other girls and the old woman were leaving the room and seemed not to observe my confusion. The girl whom I had selected picked up the horn; then led the way out the door and along the corridor overlooking the wide