When I asked him why he returned home, if he had any relatives there, or a house and land, his mouth parted in a gay smile, and he replied, “ Oui, le sucre est bon, il est doux pour les enfants! ” and he winked at the servants.
I did not catch his meaning, but the group of servants burst out laughing.
“No, I have nothing of the sort, but still I should always want to go back,” he explained to me. “I go home because there is always a something that draws one to one’s native place.” And once more he repeated with a shrewd, self-satisfied smile, his phrase, “ Oui, le sucre est bon ,” and then laughed good-naturedly.
The servants were very much amused, and laughed heartily; only the hunchbacked dishwasher looked earnestly from her big kindly eyes at the little man, and picked up his cap for him, when, as we talked, he once knocked it off the bench. I have noticed that wandering minstrels, acrobats, even jugglers, delight in calling themselves artists, and several times I hinted to my comrade that he was an artist; but he did not at all accept this designation, but with perfect simplicity looked upon his work as a means of existence.
When I asked him if he had not himself written the songs which he sang, he showed great surprise at such a strange question, and replied that the words of whatever he sang were all of old Tyrolese origin.
“But how about that song of the Righi? I think that cannot be very ancient,” I suggested.
“Oh, that was composed about fifteen years ago. There was a German in Basel; he was a clever man; it was he who composed it. A splendid song. You see he composed it especially for travellers.” And he began to repeat the words of the Righi song, which he liked so well, translating them into French as he went along.