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  well as my eyes, glued to the porthole of my cabin. It was a deep, rich barytone, as full of color as his own native skies and sea. The white cap set off his dark skin, and a pair of eyes that shot lightnings of authority gleamed from under his vizor. He ought to have been singing the “Pagliacci” prologue at the Metropolitan Opera House, but instead he was calling resonantly (his private megaphone seemed to be located in his own throat): “''Don’t crowd, Edward. … Push in, Victoria. … Get away, George. … Come nearer, come nearer, Mary. … Show your number, Albert, or meet me in court to-morrow at eleven!''”

As a matter of fact, these were the names painted on the boats crowding and jamming their way to the most favorable places for securing passengers or freight; but the quality of his voice made it seem as if, in calling Victoria, Edward, George, Mary, and Albert, he were summoning a corporeal bevy of kings and queens to do his instant bidding. The excitement reached its climax