The girl you left behind you,
O—o—o, swing that girl, that purty little girl,
The girl you left behind you!
She's purty in the face and slim around the wais',
That girl you left behind you,
O—o—o—, swing that gal, that purty little gal
and so on, with such swinging as made the girls' skirts stand out as if they wore hoops, and left the world reeling when they came at last to the triumphant, high-flung "Promenade you-all, to your seats!"
The dancers were so greatly pleased by Fred's originality and long-drawn performance that they cheered him heartily, touching the poet in his tender spot. He knew what they wanted, and forthwith produced his jewsharp, which he carried in his hip pocket tied to a little block of wood. Slowly, and with that artistic whetting of the expectation Fred knew so well how to manage, the poet began to unwind the great length of string from his little steel-tongued instrument.
At last the jewsharp was free. Cheers greeted its appearance from the mesh of protecting cord. Fred deliberately rewound the string about the block, holding the treat at arm's length, it might be said, and Banjo Gibson, knowing just when his part came in, reached behind him for his banjo, This auxiliary was also cheered.
Fixing the jewsharp io his lips, Fred threw his weight on his left leg, his right thrust forward a little in truly musical pose, his foot free to pat time. Those
