Wet Magic - E. Nesbit (read novels website TXT) 📗

your hands again, and you might as well try to get some of the sand out of your hair. It looks like the wrong end of a broom as it is.”

He himself went so far as to put on the blue necktie that Aunt Amy had given him, and polished his silver watch chain on the inside of his jacket. This helped to pass the time till the girls were ready. At last this happened though they had put on their best things, and they started.

The yellowhammer went on about himself⁠—he was never tired of the subject.

“It’s just as if that bird was making fun of us,” Bernard said.

“I daresay it is a wild-goose step we’re taking,” said Kathleen; “but the circus will be jolly, anyhow.”

There is a piece of wasteland just beyond Beachfield on the least agreeable side of that village⁠—the side where the flat-faced shops are and the yellow brick houses. At the nice end of Beachfield the shops have little fat bow windows with greenish glass that you can hardly see through. Here also are gaunt hoardings plastered with tattered, ugly-colored posters, asking you in red to wear Ramsden’s Really Boots or to Vote for Wilton Ashby in blue. Some of the corners of the posters are always loose and flap dismally in the wind. There is always a good deal of straw and torn paper and dust at this end of the village, and bits of dirty rag, and old boots and tins are found under the hedges where flowers ought to be. Also there are a great many nettles and barbed wires instead of pleasant-colored fences. Don’t you sometimes wonder who is to blame for all the uglification of places that might be so pretty, and wish you could have a word with them and ask them not to? Perhaps when these people were little nobody told them how wrong it is to throw orange peel about, and the bits of paper off chocolate, and the paper bag which once concealed your bun. And it is a dreadful fact that the children who throw these things about are little uglifiers, and they grow up to be perfect monsters of uglification, and build hideous yellow brick cottages, and put up hoardings, and sell Ramsden’s Really Boots (in red), and vote passionately for Wilton Ashby (in blue), and care nothing for the fields that used to be green and the hedges where once flowers used to grow. Some people like this, and see nothing to hate in such ugly waste places as the one, at the wrong end of the town, where the fair was being held on that never-to-be-forgotten day when Francis, Mavis, Bernard and Kathleen set out in their best clothes to rescue the Mermaid because Mermaids “die in captivity.”

The fair had none of those stalls and booths which old-fashioned fairs used to have, where they sold toys, and gilt gingerbread, and carters’ whips, and cups and saucers, and mutton pies, and dolls, and china dogs, and shell boxes, and pincushions, and needle cases, and penholders with views of the Isle of Wight and Winchester Cathedral inside that you see so bright and plain when you put your eye close to the little round hole at the top.

The steam roundabouts were there⁠—but hardly a lean back of their spotted horses was covered by a rider. There were swings, but no one happened to be swinging. There were no shows, no menagerie, no boxing booth, no marionettes. No penny gaff with the spangled lady and the fat man who beats the drum. Nor were there any stalls. There were pink-and-white paper whips and bags of dust-colored minced paper⁠—the English substitute for confetti⁠—there were little metal tubes of dirty water to squirt in people’s faces, but except for the sale of these crude instruments for making other people uncomfortable there was not a stall in the fair. I give you my word, there was not a single thing that you could buy⁠—no gingerbread, no sweets, no crockery dogs, not even a halfpenny orange or a bag of nuts. Nor was there anything to drink⁠—not as much as a lemonade counter or a ginger beer stall. The revelers were no doubt drinking elsewhere. A tomblike silence reigned⁠—a silence which all the steam roundabout’s hideous hootings only emphasized.

A very dirty-nosed boy, overhearing a hurried council, volunteered the information that the circus had not yet opened.

“Never mind,” they told each other⁠—and turned to the sideshows. These were all of one character⁠—the arrangement by which you throw something or roll something at something else, and if you hit the something you get a prize⁠—the sort of prize that is sold in Houndsditch at ninepence a gross.

Most of these arrangements are so ordered that to get a prize is impossible. For instance, a peculiarly offensive row of masks with open mouths in which pipes are set up. In the golden days of long ago if you hit a pipe it broke⁠—and you got a “prize” worth⁠—I can’t do sums⁠—put it briefly at the hundred and forty-fourth part of ninepence. But the children found that when their wooden ball struck the pipe it didn’t break. They wondered why! Then, looking more closely, they saw that the pipes were not of clay, but of painted wood. They could never be broken⁠—and the whole thing was a cruel mockery of hope.

The coconut-shy was not what it used to be either. Once one threw sticks, three shies a penny. Now it is a penny a shy, with light wooden balls. You can win a coconut if you happen to hit one that is not glued onto its support. If you really wish to win one of these unkindly fruits it is well to stand and watch a little and not to aim at those coconuts which, when they are hit, fail to fall off the sticks. Are they glued on? One hopes not. But if they are, who can wonder or reprove? It is hard to