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The Poet Of Sierra Flat
by
The interview between Mr. Chubbuck and the “California Pet” took place in a private room of the Union Hotel; propriety being respected by the presence of that arch-humorist, “Boston.” To this gentleman we are indebted for the only true account of the meeting. However reticent Mr. Chubbuck might have been in the presence of his own sex, toward the fairer portion of humanity he was, like most poets, exceedingly voluble. Accustomed as the “California Pet” had been to excessive compliment, she was fairly embarrassed by the extravagant praises of her visitor. Her personation of boy characters, her dancing of the “champion jig,” were particularly dwelt upon with fervid but unmistakable admiration. At last, recovering her audacity and emboldened by the presence of “Boston,” the “California Pet” electrified her hearers by demanding, half jestingly, half viciously, if it were as a boy or a girl that she was the subject of his flattering admiration.
“That knocked him out o’ time,” said the delighted “Boston,” in his subsequent account of the interview. “But do you believe the d—-d fool actually asked her to take him with her; wanted to engage in the company.”
The plan, as briefly unfolded by “Boston,” was to prevail upon Mr. Chubbuck to make his appearance in costume (already designed and prepared by the inventor) before a Sierra Flat audience, and recite an original poem at the Hall immediately on the conclusion of the “California Pet’s” performance. At a given signal the audience were to rise and deliver a volley of unsavory articles (previously provided by the originator of the scheme); then a select few were to rush on the stage, seize the poet, and, after marching him in triumphal procession through town, were to deposit him beyond its uttermost limits, with strict injunctions never to enter it again. To the first part of the plan the poet was committed, for the latter portion it was easy enough to find participants.
The eventful night came, and with it an audience that packed the long narrow room with one dense mass of human beings. The “California Pet” never had been so joyous, so reckless, so fascinating and audacious before. But the applause was tame and weak compared to the ironical outburst that greeted the second rising of the curtain and the entrance of the born poet of Sierra Flat. Then there was a hush of expectancy, and the poet stepped to the foot-lights and stood with his manuscript in his hand.
His face was deadly pale. Either there was some suggestion of his fate in the faces of his audience, or some mysterious instinct told him of his danger. He attempted to speak, but faltered, tottered, and staggered to the wings.
Fearful of losing his prey, “Boston” gave the signal and leaped upon the stage. But at the same moment a light figure darted from behind the scenes, and delivering a kick that sent the discomfited humorist back among the musicians, cut a pigeon-wing, executed a double-shuffle, and then advancing to the foot-lights with that inimitable look, that audacious swagger and utter abandon which had so thrilled and fascinated them a moment before, uttered the characteristic speech: “Wot are you goin’ to hit a man fur, when he’s down, s-a-a-y?”
The look, the drawl, the action, the readiness, and above all the downright courage of the little woman, had its effect. A roar of sympathetic applause followed the act. “Cut and run while you can,” she whispered hurriedly over her one shoulder, without altering the other’s attitude of pert and saucy defiance toward the audience. But even as she spoke the poet tottered and sank fainting upon the stage. Then she threw a despairing whisper behind the scenes, “Ring down the curtain.”
There was a slight movement of opposition in the audience, but among them rose the burly shoulders of Yuba Bill, the tall, erect figure of Henry York of Sandy Bar, and the colorless, determined face of John Oakhurst. The curtain came down.