When "Dixie" was being played a dark-haired young man sprang up from somewhere with a Mosby guerrilla yell and waved frantically his soft-brimmed hat. Then he strayed through the smoke, dropped into the vacant chair at our table and pulled out cigarettes.
The evening was at the period when reserve is thawed. One of us mentioned three Wurzburgers to the waiter; the dark-haired young man acknowledged his inclusion in the order by a smile and a nod. I hastened to ask him a question because I wanted to try out a theory I had.
"Would you mind telling me," I began, "whether you are from - "
The fist of E. Rushmore Coglan banged the table and I was jarred into silence.
"Excuse me," said he, "but that's a question I never like to hear asked. What does it matter where a man is from? Is it fair to judge a man by his post-office address? Why, I've seen Kentuckians who hated whiskey, Virginians who weren't descended from Pocahontas, Indianians who hadn't written a novel, Mexicans who didn't wear velvet trousers with silver dollars sewed along the seams, funny Englishmen, spendthrift Yankees, cold-blooded Southerners, narrow-minded Westerners, and New Yorkers who were too busy to stop for an hour on the street to watch a one-armed grocer's clerk do up cranberries in paper bags. Let a man be a man and don't handicap him with the label of any section."
"Pardon me," I said, "but my curiosity was not altogether an idle one. I know the South, and when the band plays 'Dixie' I like to observe.