Jack Harkaway's Boy Tinker Among The Turks by Bracebridge Hemyng (books for men to read .txt) 📕

the orphan's comforter. Let me clutch you in my grasp. Oh, it brings back my boyhood's days."

As he spoke, he rushed forward eagerly to seize the treasure.

But Bogey stuck to it.

"Money fust, Massa Figgins," he said, with a grin, "twenty poun' am de price, yah know, an' dis a fuss-rate blower. Too-too-too, tooty-tum-too," he sounded on the instrument.

The orphan was frantic.

"I haven't twenty pounds with me," he exclaimed, excitedly, "but I'll pay you the moment we get home, and five pounds over for interest. You know I'm well off, and am also a man of my word."

Bogey did know this, and was not afraid to trust him.

"Well, den, dere de flute," he said; "but don't begin too-too-tooin' till we git good way off, else p'r'aps de gem'l'm wid de red cap hear and send a dog arter de speshal messenger of de Prophet."

Mr. Figgins pledged himself not to blow a note till they were a mile from the spot at least, and on the strength of this promise, Bogey gave him up the instrument.

But no sooner did the excited orphan find it in his possession than he forgot all his promises, and putting the flute to his lips, he at once commenced "The Girl I Left Behind Me," in the most brilliant manner—so brilliant indeed that it reached the ears of the owner inside, and, as Bogey had shrewdly suspected would be the case, the latter began to have some slight suspicions that he had been done out of his flute by an impostor.

Very soon his voice was heard calling his dogs, and almost immediately loud barkings were heard.

"Run, run, Massa Figgins, or de dogs tear yah to pieces," shouted Bogey.

"They may tear me limb from limb," returned the orphan "but they shan't rob me of my flute."

And without taking the instrument from his lips, off he ran playing "Cheer, Boys, Cheer," as he hurried along.

The next moment out rushed several gaunt-looking animals, and gave chase to the musical Figgins, urged on by their mad master, who was following them.

Bogey waited for him at the gate.

As he came forth puffing, grunting, and blowing, the negro put out his foot, and over he went on his nose.

"Go back, massa bag breeches," cried Bogey, fiercely.

He added to the effect of his words by applying a switch he carried to the fat hind-quarters of the Turk, who was glad to scramble in at his gate on all fours, and shut it to keep out the "special messenger" and his cane.

When Bogey came up with Mr. Figgins, he found that usually timid personage with his back against a tree, doing battle with his canine foes, who were making sad havoc with his Moslem garments.

"Bravo, Massa Figgins," cried Bogey, as he rushed in among the yelping pack, "we soon get rid of dese heah."

With this he laid about him with such energy that the Turkish dogs, utterly bewildered, dropped their ears, and tucking their tails between their legs, slunk howling away, whilst the triumphant orphan accompanied their flight with a lively tune on his flute.

Accompanied by Bogey, Mark Antony reached his quarters in safety.

He then promptly paid the price of his instrument, and at once set himself steadily to practise, to the great horror of all in the house.

A week passed. Then the following conversation took place between young Jack Harkaway and his comrade Harry Girdwood.

"I say, old fellow, are you fond of music?"

"Well, it all depends what sort of music it is," Jack replied.

"What do you think of Figgins' instrumental performance?"

"Well, I think it's an awful row."

"So do I; but he doesn't seem to think so."

"No; he's always at it; all day long and half through the night; he'll blow himself inside his flute if he goes on at this rate. I consider it comes under the head of a nuisance."

"Most decidedly," said Jack, "and like other nuisances, must be put a stop to."

"All right: let's send for him at once."

Bogey was summoned and dispatched with a polite message from young Jack, that he would be glad to speak to him.

On receiving the message, he repaired at once to the room where Jack and Harry Girdwood were located, preparing another practical joke for the benefit of the orphan.

Mr. Figgins took his flute with him, and too-tooed all the way till he reached the door of Jack's room.

For Jack and Harry, it should be mentioned, had followed the orphan to his new abode, and secured rooms in the same house.

He entered.

"Sit down, Mr. Figgins," said Jack.

Mr. Figgins sat down, nursing his flute.

"I have sent for you," Jack commenced.

"Ah, I see, you wish for a tune," cried the orphan, with much hilarity, as he put the flute to his lips and began to play.

"On the contrary," cried Jack, quickly; "it's just what we don't wish for; we should be glad if you'd come to a stop."

Mr. Figgins opened his eyes with astonishment.

"Come to a stop," he echoed; "is it possible that you wish to stop my flute? Why, I thought you liked music."

"So I do," Jack replied, drily, "when it is music."

"And isn't my flute music? Are not its tones soft and sweet and soothing to the spirits?"

"We have found them quite the reverse," Jack assured him; "in fact, if you don't put away your flute, you'll drive us both mad, and then I wouldn't like to answer for the consequences—which might be awful."

Mr. Figgins looked aghast.

"The idea of such exquisite music as my instrument discourses driving anyone mad," he exclaimed at length, "is past belief."

"You may call it exquisite music, but we call it an awful row," Jack replied, candidly, "therefore have the goodness to shut up."

The orphan drew himself up and clutched his flute in a kind of convulsive indignation.

"I object to shutting up, Mr. Harkaway," he exclaimed, determinately; "in fact, I will not shut up. In this dulcet instrument I have found a balm for all my woes, and I intend to play it incessantly for the rest of my existence."

"You'll blow yourself into a consumption," said Harry Girdwood.

"Well, if I do, I'm only a poor orphan whom no one will regret," returned Mr. Figgins, a tear trickling down his nose at the thought of his lonely condition; "I shall die breathing forth some mournful melody, and my flute will——"

"You can leave that to us as a legacy, and we'll put it under a glass case," said Harry.

"No; my flute shall be buried with me in the silent grave."

"We don't care what you do with it after you're dead," returned Jack, "but we object to being annoyed with it while you're alive."

"Oh, you shan't be exposed to any further annoyances on my account," said the orphan, rising grandly; "I and my flute will take our departure together."

With these words he left the room, and very shortly afterwards quitted the house.

Mr. Figgins being determined to keep apart from the Harkaway party, gave up the rooms he had taken, and after some search found another lodging in the upper chamber of a house in a retired part of the town.

Here he determined to settle down, and devote himself with more ardour than ever to the practice of his favourite instrument.

It was night.

Mr. Figgins was in bed, but he could get no sleep.

Curious insects, common to Eastern climes, crawled forth from chinks in the walls and cracks in the floor, and nibbled the orphan in various parts of his anatomy till he felt as if the surface of his skin was one large blister.

"What a dreadful climate is this," he murmured, as he sat up in bed; "nothing but creeping things everywhere. Phew! what's to be done?"

He reflected a moment.

"I have it!" he exclaimed, "my flute, my precious flute, that will soothe me."

Hopping nimbly out of bed, he dressed himself in his European costume, seized his instrument, and began a tune.

He had been playing all day long, and the other lodgers in the house were congratulating themselves on the cessation of the infliction, when suddenly the instrumental torture commenced again.

"Too-too, too-tum-too, tooty-tum, tooty-tum, too-tum-too," went the flute, in a more shrill and vigorous manner than ever, whilst a select party of dogs, attracted by the melody, assembled under the window and howled in concert.

In the chamber next to that occupied by the infatuated Figgins lodged a Turk, Bosja by name.

Bosja, in the first place, had no taste for music, and particularly detested the sound of a flute.

Secondly, he was suffering from an excruciating toothache, and the incessant too-tum, too-tum, tooty-tum-too—with the additional music of the dogs—drove him mad.

He was sitting up with his pipe in his mouth, and a green, yellow-striped turban pulled down over his ears, trying to shut out the sound, but in vain.

"Oh, oh! Allah be merciful to me!" he groaned, as the irritated nerve gave him an extra twinge.

"Too-too, too-tum-too, too-tum, too-tum, tooty-tum-too," from the orphan's flute answered him.

"Allah confound the wretch with his tooty-tum-too!" growled the distracted sufferer; "if he only knew what I am enduring."

But this Mr. Figgins did not know.

Probably he would not have cared if he had known, and he continued to pour forth melodious squeakings to his own entire satisfaction.

At length the patience of Bosja was utterly exhausted, and he summoned the landlady.

"What son of Shitan have you got in the next room?" he demanded of her, fiercely.

"I know very little of him," returned the mistress of the house; "only that he is a Frankish gentleman, who dresses sometimes as a Turk, and has lately come to lodge here."

"He is a dog, and the son of a dog! May his flute choke him, and his father's grave be defiled!" growled the irascible Turk, "tell him to leave off, or I will kill him and burn his flute."

The landlady went at once and tapped at the door of the musical lodger.

There was no response save the too-too-too of the flute.

"Signor!" she called after a moment.

"What's the matter?" inquired Mr. Figgins from within; "do you wish me to come and play you a tune?" and he then continued "too-too, tooty-too."

"The gentleman in the next room objects to the sound of your flute."

"Does he?—tooty-too, tooty-too."

"Yes; and he begs you'll leave off."

"I shan't!—tooty-tum, tooty-tum, tooty-too. I intend to play all night."

The landlady, having delivered her message, went downstairs.

Mr. Figgins still continued to blow away and the agonized Bosja to mutter curses not loud, but deep, upon his head and his instrument.

But patience has its limits, and Bosja, never remarkable for that virtue, having sworn all the oaths he knew twice over, at last sprang from his bed, and dashing down his pipe, rapped fiercely at the wall.

"What do you want? Shall I come and play a few tunes to you?" inquired the orphan, placidly pausing for an instant.

"You vile son of perdition, stop that accursed noise!" shouted the Turk.

"Too-too, tooty-too."

"Do you hear, unbelieving dog?"

"Tooty-too—yes, I hear—tooty-tooty-tooty-too."

"Then why don't you stop?"

"Because I intend to go on—too-tum-too—all night"

"But you're driving me to distraction."

"Nonsense; go to bed and sleep—tooty-tum, tooty-tum, tooty-too. You will like the beautiful flute in time."

"But I can't sleep with that infernal tooty-too in any ears, and I've got the toothache."

"Have it out. You'll feel better."

This cool irony on the part of Mr. Figgins was like oil poured upon the fierce temper of the irascible Bosja, and he shouted loudly—

"If I hear any more of that diabolical 'tootum-too,' I swear by Allah I'll take your life, and give your body to the crows and vultures."

"Ha, ha!" laughed the reckless Figgins. "Tooty-tum, tooty-tum, too-tum—"

But before he could finish his musical phrase, the maddened Bosja had seized his scimitar, and rushed like a bull at the partition.

The partition was thin, the Turk was burly and thick, and he plunged through head first into the orphan's apartment, to the no little surprise and dismay of the latter.

It was quite a picture.

Bosja waved his weapon over his head; Mark Antony Figgins hopped upon the bed and wrapped himself tightly round in the clothes, clutching his flute to his side.

For a moment the