liked, when and where he liked—and that branch of his profession was closed to Luigi—for these men were giants and terrors, arranging no "crosses," stern fighters, and out for fame, money, genuine sport, and the real Championship.
Then had come a time of poverty, straits, mean shifts and misery, followed by Luigi's job as a "tamer" of tame lions. This post of lion-tamer to a cageful of mangy, weary lions, captive-born, pessimistic, timid and depressed, had been secured by Guiseppe Longigotto, and handed over to Luigi (on its proving safe and satisfactory), in the interests of Giuseppe's adored and hungry Carmelita. Arrayed in the costume worn by all the Best Lion-tamers, Luigi looked a truly noble figure, as, with flashing eyes and gleaming teeth, he cracked the whip and fired the revolver that induced the bored and disgusted lions to amble round the cage, crouching and cringing in humility and fear. That insignificant little rat, Guiseppe, was far more in the picture, of course, as fiddler to the show, than he was in his original role of tamer of the lions. Followed a bad time along the African coast, culminating, at Algiers, in poor Guiseppe's impassioned pleadings that Carmelita would marry him (and, leaving this dreadful life of the road, live with him and his beautiful violin on the banked proceeds of his great Wrestling Championship scheme), Luigi's jealousy, his overbearing airs of proprietorship, his drunken cruelty, his presuming on her love and obedience to him until she sought to give him a fright and teach him a lesson, his killing of the poor, pretty musician, and his flight to Sidi-bel-Abbès.…
To Sidi-bel-Abbès also fled Carmelita, and, with the
