The Street of Seven Stars

From the height of his worldly wisdom he was explaining the people to her.

"In the box--don't stare, Liebchen, he looks--is the princeling I have told you of. Roses, of course. Last night it was orchids."

"Last night! Were you here?" He coughed.

"I have been told, Liebchen. Each night he sits there, and when she finishes her song he rises in the box, kisses the flowers and tosses them to her."

"Shameless! Is she so beautiful?"

"No. But you shall see. She comes."

Le Grande was very popular. She occupied the best place on the program; and because she sang in American, which is not exactly English and more difficult to understand, her songs were considered exceedingly risque. As a matter of fact they were merely ragtime melodies, with a lilt to them that caught the Viennese fancy, accustomed to German sentimental ditties and the artificial forms of grand opera. And there was another reason for her success. She carried with her a chorus of a dozen pickaninnies.

In Austria darkies were as rare as cats, and there were no cats! So the little chorus had made good.

Each day she walked in the Prater, ermine from head to foot, and behind her two by two trailed twelve little Southern darkies in red-velvet coats and caps, grinning sociably. When she drove a pair sat on the boot.

Her voice was strong, not sweet, spoiled by years of singing against dishes and bottles in smoky music halls; spoiled by cigarettes and absinthe and foreign cocktails that resembled their American prototypes as the night resembles the day.

She wore the gold dress, decolletee, slashed to the knee over rhinestone-spangled stockings. And back of her trailed the twelve little darkies.

She sang "Dixie," of course, and the "Old Folks at Home"; then a ragtime medley, with the chorus showing rows of white teeth and clogging with all their short legs. Le Grande danced to that, a whirling, nimble dance. The little rhinestones on her stockings flashed; her opulent bosom quivered. The Dozent, eyes on the dancer, squeezed his companion's hand.

"I love thee!" he whispered, rather flushed.

And then she sang "Doan ye cry, mah honey." Her voice, rather coarse but melodious, lent itself to the negro rhythm, the swing and lilt of the lullaby. The little darkies, eyes rolling, preternaturally solemn, linked arms and swayed rhythmically, right, left, right, left. The glasses ceased clinking; sturdy citizens forgot their steak and beer for a moment and listened, knife and fork poised. Under the table the Dozent's hand pressed its captive affectionately, his eyes no longer on Le Grande, but on the woman across, his sweetheart, she who would be mother of his children. The words meant little to the audience; the rich, rolling Southern lullaby held them rapt:-"Doan ye Cry, mah honey-- Doan ye weep no mo', Mammy's gwine to hold her baby, All de udder black trash sleepin' on the flo'," The little darkies swayed; the singer swayed, empty arms cradled.