the evening, to break up the fights--draws up a chair to the foot of the
table. And the children shout and the babies yell, and every one laughs
and sings and chatters--while above all the deafening clamor Cousin
Marija shouts orders to the musicians.

The musicians--how shall one begin to describe them? All this time they
have been there, playing in a mad frenzy--all of this scene must be
read, or said, or sung, to music. It is the music which makes it what
it is; it is the music which changes the place from the rear room of
a saloon in back of the yards to a fairy place, a wonderland, a little
corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle
is out of tune, and there is no rosin on his bow, but still he is an
inspired man--the hands of the muses have been laid upon him. He plays
like one possessed by a demon, by a whole horde of demons. You can
feel them in the air round about him, capering frenetically; with their
invisible feet they set the pace, and the hair of the leader of the
orchestra rises on end, and his eyeballs start from their sockets, as he
toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the
violin by practicing all night, after working all day on the "killing
beds." He is in his shirt sleeves, with a vest figured with faded gold
horseshoes, and a pink-striped shirt, suggestive of peppermint candy.
A pair of military trousers, light blue with a yellow stripe, serve to
give that suggestion of authority proper to the leader of a band. He is
only about five feet high, but even so these trousers are about eight
inches short of the ground. You wonder where he can have gotten them or
rather you would wonder, if the excitement of being in his presence left