There is no fight that night—perhaps because Jurgis, too, is watchful—even more so than the policeman. Jurgis has drunk a great deal, as any one naturally would on an occasion when it all has to be paid for, whether it is drunk or not; but he is a very steady man, and does not easily lose his temper. Only once there is a tight shave—and that is the fault of Marija Berczynskas. Marija has apparently concluded about two hours ago that if the altar in the corner, with the deity in soiled white, be not the true home of the muses, it is, at any rate, the nearest substitute on earth attainable. And Marija is just fighting drunk when there come to her ears the facts about the villains who have not paid that night. Marija goes on the warpath straight off, without even the preliminary of a good cursing, and when she is pulled off it is with the coat collars of two villains in her hands. Fortunately, the policeman is disposed to be reasonable, and so it is not Marija who is flung out of the place.
All this interrupts the music for not more than a minute or two. Then again the merciless tune begins—the tune that has been played for the last half-hour without one single change. It is an American tune this time, one which they have picked up on the streets; all seem to know the words of it—or, at any rate, the first line of it, which they hum to themselves, over and over again without rest: "In the good old summertime—in the good old summertime! In the good old summertime—in the good old summertime!" There seems to be something hypnotic about this, with its endlessly recurring dominant. It has put a stupor upon every one who hears it, as well as upon the men who are playing it. No one can get away from it, or even think of getting away from it; it is three o'clock in the morning, and they have danced out all their joy, and danced out all their strength, and all the strength that unlimited drink can lend them—and still there is no one among them who has the power to think of stopping. Promptly at seven o'clock this same Monday morning they will every one of them have to be in their places at Durham's or Brown's or Jones's, each in his working clothes. If one of them be a minute late, he will be docked an hour's pay, and if he be many minutes late, he will be apt to find his brass check turned to the wall, which will send him out to join the hungry mob that waits every morning at the gates of the packing houses, from six o'clock until nearly half-past eight. There is no exception to this rule, not even little Ona—who has asked for a holiday the day after her wedding day, a holiday without pay, and been refused. While there are so many who are anxious to work as you wish, there is no occasion for incommoding yourself with those who must work otherwise.
Little Ona is nearly ready to faint—and half in a stupor herself, because of the heavy scent in the room. She has not taken a drop, but every one else there is literally burning alcohol, as the lamps are burning oil; some of the men who are sound asleep in their chairs or on the floor are reeking of it so that you cannot go near them. Now and then Jurgis gazes at her hungrily—he has long since forgotten his shyness; but then the crowd is there, and he still waits and watches the door, where a carriage is supposed to come. It does not, and finally he will wait no longer, but comes up to Ona, who turns white and trembles. He puts her shawl about her and then his own coat. They live only two blocks away, and Jurgis does not care about the carriage.
There is almost no farewell—the dancers do not notice them, and all of the children and many of the old folks have fallen asleep of sheer exhaustion. Dede Antanas is asleep, and so are the Szedvilases, husband and wife, the former snoring in octaves. There is Teta Elzbieta, and Marija, sobbing loudly; and then there is only the silent night, with the stars beginning to pale a little in the east. Jurgis, without a word, lifts Ona in his arms, and strides out with her, and she sinks her head upon his shoulder with a moan. When he reaches home he is not sure whether she has fainted or is asleep, but when he has to hold her with one hand while he unlocks the door, he sees that she has opened her eyes.
"You shall not go to Brown's today, little one," he whispers, as he climbs the stairs; and she catches his arm in terror, gasping: "No! No! I dare not! It will ruin us!"
But he answers her again: "Leave it to me; leave it to me. I will earn more money—I will work harder."
Chapter 2
Jurgis talked lightly about work, because he was young. They told him stories about the breaking down of men, there in the stockyards of Chicago, and of what had happened to them afterward—stories to make your flesh creep, but Jurgis would only laugh. He had only been there four months, and he was young, and a giant besides. There was too much health in him. He could not even imagine how it would feel to be beaten. "That is well enough for men like you," he would say, "silpnas, puny fellows—but my back is broad."
Jurgis was like a boy, a boy from the country. He was the sort of man the bosses like to get hold of, the sort they make it a grievance they cannot get hold of. When he was told to go to a certain place, he would go there on the run. When he had nothing to do for the moment, he would stand round fidgeting, dancing, with the overflow of energy that was in him. If he were working in a line of men, the line always moved too slowly for him, and you could pick him out by his impatience and restlessness. That was why he had been picked out on one important occasion; for Jurgis had stood outside of Brown and Company's "Central Time Station" not more than half an hour, the second day of his arrival in Chicago, before he had been beckoned by one of the bosses. Of this he was very proud, and it made him more disposed than ever to laugh at the pessimists. In vain would they all tell him that there were men in that crowd from which he had been chosen who had stood there a month—yes, many months—and not been chosen yet. "Yes," he would say, "but what sort of men? Broken-down tramps and good-for-nothings, fellows who have spent all their money drinking, and want to get more for it. Do you want me to believe that with these arms"—and he would clench his fists and hold them up in the air, so that you might see the rolling muscles—"that with these arms people will ever let me starve?"
"It is plain," they would answer to this, "that you have come from the country, and from very far in the country." And this was the fact, for Jurgis had never seen a city, and scarcely even a fair-sized town, until he had set out to make his fortune in the world and earn his right to Ona. His father, and his father's father before him, and as many ancestors back as legend could go, had lived in that part of Lithuania known as Brelovicz, the Imperial Forest. This is a great tract of a hundred thousand acres, which from time immemorial has been a hunting preserve of the nobility. There are a very few peasants settled in it, holding title from ancient times; and one of these was Antanas Rudkus, who had been reared himself, and had reared his children in turn, upon half a dozen acres of cleared land in the midst of a wilderness. There had been one son besides Jurgis, and one sister. The former had been drafted into the army; that had been over ten years ago, but since that day nothing had ever been heard of him. The sister was married, and her husband had bought the place when old Antanas had decided to go with his son.