Almost in a trice he was back, both slippers in his mouth, which he deposited at the steward’s feet.

“The more I know dogs the more amazin’ marvellous they are to me,” Dag Daughtry, after he had compassed his fourth bottle, confided in monologue to the Shortlands planter that night just before bedtime.  “Take Killeny Boy.  He don’t do things for me mechanically, just because he’s learned to do ’m.  There’s more to it.  He does ’m because he likes me.  I can’t give you the hang of it, but I feel it, I know it.

“Maybe, this is what I’m drivin’ at.  Killeny can’t talk, as you ‘n’ me talk, I mean; so he can’t tell me how he loves me, an’ he’s all love, every last hair of ‘m.  An’ actions speakin’ louder ‘n’ words, he tells me how he loves me by doin’ these things for me.  Tricks?  Sure.  But they make human speeches of eloquence cheaper ’n dirt.  Sure it’s speech.  Dog-talk that’s tongue-tied.  Don’t I know?  Sure as I’m a livin’ man born to trouble as the sparks fly upward, just as sure am I that it makes ’m happy to do tricks for me . . . just as it makes a man happy to lend a hand to a pal in a ticklish place, or a lover happy to put his coat around the girl he loves to keep her warm.  I tell you . . . "

Here, Dag Daughtry broke down from inability to express the concepts fluttering in his beer-excited, beer-sodden brain, and, with a stutter or two, made a fresh start.

“You know, it’s all in the matter of talkin’, an’ Killeny can’t talk.  He’s got thoughts inside that head of his—­you can see ‘m shinin’ in his lovely brown eyes—­but he can’t get ’em across to me.  Why, I see ’m tryin’ to tell me sometimes so hard that he almost busts.  There’s a big hole between him an’ me, an’ language is about the only bridge, and he can’t get over the hole, though he’s got all kinds of ideas an’ feelings just like mine.

“But, say!  The time we get closest together is when I play the harmonica an’ he yow-yows.  Music comes closest to makin’ the bridge.  It’s a regular song without words.  And . . .  I can’t explain how . . . but just the same, when we’ve finished our song, I know we’ve passed a lot over to each other that don’t need words for the passin’.”

“Why, d’ye know, when I’m playin’ an’ he’s singin’, it’s a regular duet of what the sky-pilots ‘d call religion an’ knowin’ God.  Sure, when we sing together I’m absorbin’ religion an’ gettin’ pretty close up to God.  An’ it’s big, I tell you.  Big as the earth an’ ocean an’ sky an’ all the stars.  I just seem to get hold of a sense that we’re all the same stuff after all—­you, me, Killeny Boy, mountains, sand, salt water, worms, mosquitoes, suns, an’ shootin’ stars an’ blazin comets . . . "

Day Daughtry left his flight as beyond his own grasp of speech, and concluded, his half embarrassment masked by braggadocio over Michael: 

“Oh, believe me, they don’t make dogs like him every day in the week.  Sure, I stole ‘m.  He looked good to me.  An’ if I had it over, knowin’ as I do known ’m now, I’d steal ‘m again if I lost a leg doin’ it.  That’s the kind of a dog he is.”