EVERY day Mr. Bonelli took all of us
down into a big cellar under the house.
There was a raised part at one end that
he called a stage, and we had to get up on the stage
and go through our tricks every day. If any dog
made a mistake he had to go through his tricks all
over again.
We all had sort of fancy things to wear when we
were on the stage.
The other dogs wore cloth collars that came
down over their breasts and a kind of saddle
strapped around them. The collars and saddles
were red, and had trimming around the edges.
I was dressed differently, because I was the
clown dog. I wore a red cap that was cut so that
it came round and fastened under my chin, and
a big white thing round my neck that they called
a ruff. I wore a little coat with my front legs put
through the sleeves of it, and little striped trousers
with my tail coming through at the back.
At first, when they dressed me that way, I felt
so foolish I wanted to get down under a chair or
sofa and hide, but afterwards I became used to it,
and then I felt quite proud, and liked to be dressed
in them.
Mr. Bonelli made me the clown dog because
I could grin. The first thing he taught me was to
grin whenever he made a certain sign with a little
whip he always carried.
When he was teaching me he used to give me a
bit of cake or sugar every time I grinned, so I was
always glad when he made the sign for me to do it.
But afterwards he stopped giving me the cake and
sugar, but I had to grin just the same.
As soon as we were on the stage we had to run
over to a row of chairs and jump up on them.
There was a chair for each dog, and each dog had
his own particular chair. We were never allowed
to sit on any but our own chairs.
All the dogs except me sat with their backs
against the backs of the chairs and their tails hanging
down, but when I got up in my chair I turned
with my head to the back of it and my tail toward
the front. That was what I had been taught to do.
Mr. Bonelli would call to me and tell me to turn
around, but I wouldn’t stir. He would call to me
louder and louder, as if he was getting angry, but I
wouldn’t pay any attention. At last he would
come over and lift me up and set me down the right
way, but as soon as he went away I would turn
around again. We would do this several times,
and at last he would say, “All right, Master
Grineo, suit yourself then,” and would walk away
and leave me.
Then I would turn round and sit the right way
and grin at him, and he would seem very much
surprised when he looked round and saw me sitting
that way.
Later, when we acted in a theatre with people
looking on, I found this trick always made the
people laugh.
(Mr. Bonelli didn’t call it a trick, though; he
called it an “act.”)
Another “act” we did was the Jumping Act.
A long board would be put on the stage with
one end resting on something high so that it stuck
up in the air. A mattress was always laid on the
stage down below the high end. The dogs would
run up the board and jump off on the mattress.
The mattress was put there so they wouldn’t hurt
their legs when they came down.
All the dogs would jump except me, but I would
just sit and look on.
Then the mattress would be moved further off,
and a chair would be put between it and the board.
The dogs would run up the board and jump off the
end and out over the chair and light on the mattress
as before. Then the mattress would be moved
further and two chairs put there. The little dogs
would stop jumping then. But most of the larger
dogs kept on.
Then two chairs and a table would be put there
for them to jump over, and then two chairs and
two tables, and so on. After a while the jumps
would be so long that only Graceful and Punch
could do them. They were both fine jumpers, but
Graceful was the best.
Now I would get down from my chair and trot
over to Mr. Bonelli and stand up on my hind legs
in front of him and bark: “Bow-wow-wow-wow!”
“What, Grineo!” he would say. “You want to
try it, too?”
“Bow-wow!”
“But that’s too long a jump for you.”
“Bow-wow-wow!”
“You think you can do it?”
“Bow-wow.”
“Very well! Then go ahead, but I’m afraid you
can’t do it, and you may hurt yourself, too.”
Then I would go back to the furthest edge of
the stage, and run as hard as I could across the
stage and up the board, and just as I got to the
edge I would stop short and stand there with all
my feet together and not jump at all. Then I
would look round at Mr. Bonelli and grin.
“There!” he would say. “I knew you couldn’t
do it. Come down now and let Graceful jump.”
But I wouldn’t come down.
“Come, come!” he would cry impatiently.
“You’re keeping everybody waiting. Come down,
I say.”
Still I wouldn’t move, and then Graceful would
run up the board and jump right over me and far
out over the chairs and tables, and land on the
mattress so lightly you scarcely knew when he
touched it. Even Punch was not able to make
that last long jump, only Graceful. After that
last jump I would come down from the board and
go back to my chair again.
Then we would play ball. Mr. Bonelli would
toss a big bright ball to one after another of the
dogs, and each dog would jump up in the air and
catch it and bring it back to him.
After they had played for a while I would jump
down from my chair and run over in front of
him, and stand up on my hind legs and wave
my paws.
“So!” he would cry. “You want to play, too,
do you?”
“Bow-wow-wow!” I would bark.
“Very well,” he would say; “then catch.”
He would throw the ball to me, and I would
catch it as the others had done, but instead of bringing
it back to him I would run away with it, and
he would chase me all around the stage and pretend
to get very angry.
At last he would cry, “Police! Police!”
Graceful would jump right over me.
Then Frolic, who had jumped down from his
chair and had run out a little while before, would
come in walking on his hind legs and dressed like
a policeman. A black stick was strapped to his
paw, and he would come hopping over toward me
and wave the stick as if he meant to hit me, and I
would pretend to be frightened and would drop
the ball and run and hide under a chair.
Frolic would go out again, and after he had gone
I would come out from under the chair and sit
down in front of Mr. Bonelli, and beg again and
wave my paws up and down.
Mr. Bonelli would say, “So you want to play
again. Sure you won’t run away with the ball
this time?”
I would wave my paws harder.
“Very well, we’ll try once more, but remember!
If you play any more of your tricks I’ll call the
policeman again, and then he’ll take you away and
shut you in the lock-up.”
And now would come the most difficult trick I
ever had to learn. It was one that none of the other
dogs could do. I don’t know whether any other
dog ever did it or not. When Mr. Bonelli threw
the ball to me this time, I would catch it and throw
it back to him. This I would do by jerking my
head forward and letting go of the ball at the same
time. We would throw it backward and forward
three or four times, and then we would stop, for
it was hard for me to do this, and after doing it
three or four times I was tired.
After that I would rest awhile, and some of the
other dogs would do their tricks. A long red carpet
would be unrolled across the stage, and Frisco, and
Snaps, and Diamond and Sancho would turn
somersaults across it from one side of the stage to
the other.
After they had done this for a while they would
stop and go back to their chairs, and three little
round barrels painted with stripes of red, white
and blue would be brought in.
This was an act for Sambo and Frolic and me.
We would get on top of the barrels and roll them
along with our feet from one end of the carpet to
the other, always keeping on top of them and never
falling off. That was a hard thing to do.
Then Graceful and Ruby would come in dressed
like people. Graceful was the lady, with a skirt,
and a hat with a feather in it, and Ruby was the
gentleman, in a coat and trousers. Graceful’s dress
was so long at the back that it trailed on the floor.
The music played and they stood up on their hind
legs and danced together, and after I had watched
them for a while I would jump down and hop after
them on my hind legs, and every now and then
I would hop on Graceful’s train so he couldn’t
dance and at last he would have to stop and run
off the stage on all fours.
These are some of the acts we did, but there were
a great many more of them.
The last of all was the “Fire Act.” A little
house would be brought on the stage, and Mr.
Bonelli would pretend to set fire to it. It was
fixed so it wouldn’t really burn, but the fire was
inside and came out of the windows, so it looked
as though it were burning.
Then Graceful and Ruby would come galloping
in harnessed to a little fire engine, with Sancho
sitting up in front with the reins in his paws.
Diamond stood on the back of the fire engine and
kept pushing a gong with his paw so it went “Jang!
jang! jang! jang! jang!”
There was a hose on the engine, and Judy had
to catch it in her teeth and hold it so that when
the water was turned on it would squirt on the
house and seem to put the fire out.
We would get on top of the barrels and roll them along with
our feet.
I was the little dog that ran about barking when
the house was burning, and then pushed the other
little dog off the engine and rang the bell myself.
We none of us liked this act because of the fire.
We were afraid of the fire. Still we had to do as
we were told, and we had to practise this act over
and over and over again because it was a hard one.
There were a great many other tricks besides
these, as I said, but these are enough to show you
the sort of things we did.
Every day we practised these things over and
over until every one of us knew exactly what he
was to do and when he was to do it.
Then one morning we didn’t practise. We
played out in the yard and around the house, and
we didn’t have any lessons.
In the afternoon two men came to the house,
and Mr. Bonelli called to us and whistled us into
the room where he and the men were.
“Come, my children!” said he. (He often called
us his children.) “This afternoon we go to the
theatre to practise, and we will see whether you
can be as perfect there as here. Then tonight we
will act in the show, and everybody will look and
laugh and wonder at you.”
I didn’t know what he meant, but he looked so
kind and smiling I thought he must mean play. I
guess the other dogs did, too, because we all began
to bark and jump about him.
I did like Mr. Bonelli, but I didn’t love him the
way I loved Tommy. I never could love anyone
else the way I had loved Tommy.
Mrs. Bonelli came up from downstairs carrying
in her arms the things we wore, and she and Mr.
Bonelli dressed us. After that Mr. Bonelli put
collars on our necks and fastened straps to them,
and he and the men took hold of the straps and
led us out of the house and into the wide, sunny
street. How big and bright it seemed! I hadn’t
been in the street for a long time.
We trotted along, the men leading some of us
and Mr. Bonelli leading some, and everybody
turned to stare at us and smiled, and a crowd of
children followed after us, talking and calling.
Some of them wanted to pat us, but Mr. Bonelli
wouldn’t let them.
After a while we came to the theatre. I had
never been in a theatre before, and I didn’t know
what the name meant at first, but I learned afterward.
It is a great big place where crowds of
people come to see dogs act. There is always a
stage in a theatre, and bright lights. There are
queer places back of the stage, and men hurry about
and drag things round.
I was scared when I first saw it all and I stayed
close to Mr. Bonelli’s legs and kept looking up at
him, but the other dogs were used to it, they had
been there before so many times. They sniffed
about, and some of the men stopped and patted
them.
Mr. Bonelli led us out on the stage, and then
some men came with our chairs and set them in
a row.
“Now, my children!” said Mr. Bonelli.
He pointed to the chairs and flicked his little
whip, and we ran and got up in our places, only
I forgot and sat down with my head turned toward
him and my tail toward the back of the chair just
the way the other dogs were sitting.
Mr. Bonelli wasn’t pleased with that. He spoke
to me quite sharply, and then I remembered and
turned round the other way,—the way he had
taught me to sit.
The lights shone out along the edge of the stage
and there was music somewhere in front of us, but
Mr. Bonelli spoke to us just the way he always did.
He came and turned me round in my chair, and
when I turned back again he said, “All right,
Master Grineo; suit yourself!” just as he did when
we were at home, and so presently I didn’t feel
strange any more.
We went through all our tricks as we did at
home, and when we came to the end Mr. Bonelli
went about among us, patting us and praising us.
“Good! Good dogs! Well done!” he said.
We all felt so pleased we wagged our tails, and
some of us jumped about and barked. Then we
went home and had our suppers and lay down and
rested for a while.
But that wasn’t all. Almost always when we
had gone through our tricks once we had finished
for the day; but that evening the men came to
the house again, and Mr. Bonelli put collars and
straps on us,—but he didn’t dress us in our fancy
things this time. Mrs. Bonelli put the things in a
big case and fastened it, and then we all set out,
Mrs. Bonelli too.
We went the same way we had gone in the morning,
and after we came to the theatre Mrs. Bonelli
took us to a room downstairs, dressed us, and then
upstairs again where the stage was.
We didn’t go on the stage right away, though.
A man and woman were out on it. They were
walking up and down and singing and talking.
After a while they came off and went on again and
came off, and then a big curtain came down in
front so the stage was shut in like a room.
“Now,” said Mr. Bonelli, “get those chairs on.”
Some men ran about and carried our chairs out
on the stage. One of them almost fell over me.
Then the big curtain that had come down in
front of the stage went up again, and Mr. Bonelli
led us out on the stage.
He motioned to us to get up in our chairs and
we did, and then I heard him speaking and a big
noise as though a lot of people were clapping their
hands. It made me feel so queer inside I wanted
to turn round and bark and bark.
Then we began acting just as we did at home,
and every now and then there would be the same
sound of clapping hands. There were crowds and
crowds of people out in front of the stage. Sometimes
when I did my tricks they laughed and
clapped, and then I wagged my tail and grinned.
I wanted to do them over again but Mr. Bonelli
wouldn’t let me.
Sometimes there was music. It was bigger than
when Mrs. Bonelli played the piano. When we
rolled the barrels and when we turned somersaults
there was music. And when the dogs jumped off
the board the big drum went “Bumb!” And there
was music when Graceful and Ruby danced.
After a while it was all over, and we had to go
off the stage. I didn’t want to go off one bit, but
we had to. When the music began again I barked
and ran out on the stage again, but a man ran after
me and caught hold of me and pulled me back,
and everybody laughed.
Then the collars were fastened around our necks,
and the men came and took hold of the straps and
we went home again.
That was our first night of acting. But there
were many more after that. We acted for a long
time at that same theatre. Night after night we
acted there, and sometimes in the afternoons, too.
I got so used to it that I didn’t think any more
about it.