Chapter 7

I have of late been led to wistfully reflect that many of the illustrators are very clever. In an impatience, which was denoted by a certain economy of apparel, I went to a window to look upon day-lit London. There were the ‘buses parading the streets with the miens of elephants. There were the police looking precisely as I had been informed by the prints. There were the sandwich-men. There was almost everything.

But the artists had not told me the sound of London. Now, in New York the artists are able to pourtray sound, because in New York a dray is not a dray at all; it is a great potent noise hauled by two or more horses. When a magazine containing an illustration of a New York street is sent to me, I always know it beforehand. I can hear it coming through the mails. As I have said previously, this which I must call sound of London was to me only a silence.

Later, in front of the hotel a cabman that I hailed said to me—”Are you gowing far, sir? I’ve got a byby here, and want to giv’er a bit of a blough.” This impressed me as being probably a quotation from an early Egyptian poet, but I learned soon enough that the word “byby” was the name of some kind or condition of horse. The cabman’s next remark was addressed to a boy who took a perilous dive between the byby’s nose and a cab in front. “That’s roight. Put your head in there and get it jammed—a whackin good place for it, I should think.” Although the tone was low and circumspect, I have never heard a better off-handed declamation. Every word was cut clear of disreputable alliances with its neighbours. The whole thing was as clean as a row of pewter mugs. The influence of indignation upon the voice caused me to reflect that we might devise a mechanical means of inflaming some in that constellation of mummers which is the heritage of the Anglo-Saxon race.