It was four o'clock when the ceremony was over and the carriages began
to arrive. There had been a crowd following all the way, owing to the
exuberance of Marija Berczynskas. The occasion rested heavily upon
Marija's broad shoulders--it was her task to see that all things went in
due form, and after the best home traditions; and, flying wildly
hither and thither, bowling every one out of the way, and scolding and
exhorting all day with her tremendous voice, Marija was too eager to see
that others conformed to the proprieties to consider them herself. She
had left the church last of all, and, desiring to arrive first at the
hall, had issued orders to the coachman to drive faster. When that
personage had developed a will of his own in the matter, Marija had
flung up the window of the carriage, and, leaning out, proceeded to
tell him her opinion of him, first in Lithuanian, which he did not
understand, and then in Polish, which he did. Having the advantage of
her in altitude, the driver had stood his ground and even ventured to
attempt to speak; and the result had been a furious altercation, which,
continuing all the way down Ashland Avenue, had added a new swarm of
urchins to the cortege at each side street for half a mile.

This was unfortunate, for already there was a throng before the door.
The music had started up, and half a block away you could hear the dull
"broom, broom" of a cello, with the squeaking of two fiddles which vied
with each other in intricate and altitudinous gymnastics. Seeing
the throng, Marija abandoned precipitately the debate concerning the
ancestors of her coachman, and, springing from the moving carriage,
plunged in and proceeded to clear a way to the hall. Once within, she
turned and began to push the other way, roaring, meantime, "Eik! Eik!
Uzdaryk-duris!" in tones which made the orchestral uproar sound like
fairy music.

"Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and
Liquors. Union Headquarters"--that was the way the signs ran. The
reader, who perhaps has never held much converse in the language of
far-off Lithuania, will be glad of the explanation that the place was
the rear room of a saloon in that part of Chicago known as "back of the
yards." This information is definite and suited to the matter of fact;
but how pitifully inadequate it would have seemed to one who understood
that it was also the supreme hour of ecstasy in the life of one of
God's gentlest creatures, the scene of the wedding feast and the
joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breathless from
pushing through the crowd, and in her happiness painful to look upon.
There was a light of wonder in her eyes and her lids trembled, and
her otherwise wan little face was flushed. She wore a muslin dress,
conspicuously white, and a stiff little veil coming to her shoulders.
There were five pink paper roses twisted in the veil, and eleven bright
green rose leaves. There were new white cotton gloves upon her hands,
and as she stood staring about her she twisted them together feverishly.
It was almost too much for her--you could see the pain of too great
emotion in her face, and all the tremor of her form. She was so
young--not quite sixteen--and small for her age, a mere child; and she
had just been married--and married to Jurgis,* (*Pronounced Yoorghis) of
all men, to Jurgis Rudkus, he with the white flower in the buttonhole of
his new black suit, he with the mighty shoulders and the giant hands.

Ona was blue-eyed and fair, while Jurgis had great black eyes with
beetling brows, and thick black hair that curled in waves about his
ears--in short, they were one of those incongruous and impossible
married couples with which Mother Nature so often wills to
confound all prophets, before and after. Jurgis could take up a
two-hundred-and-fifty-pound quarter of beef and carry it into a car
without a stagger, or even a thought; and now he stood in a far corner,
frightened as a hunted animal, and obliged to moisten his lips with
his tongue each time before he could answer the congratulations of his
friends.

Gradually there was effected a separation between the spectators and
the guests--a separation at least sufficiently complete for working
purposes. There was no time during the festivities which ensued when
there were not groups of onlookers in the doorways and the corners;
and if any one of these onlookers came sufficiently close, or looked
sufficiently hungry, a chair was offered him, and he was invited to the
feast. It was one of the laws of the veselija that no one goes hungry;
and, while a rule made in the forests of Lithuania is hard to apply
in the stockyards district of Chicago, with its quarter of a million
inhabitants, still they did their best, and the children who ran in
from the street, and even the dogs, went out again happier. A charming
informality was one of the characteristics of this celebration. The men
wore their hats, or, if they wished, they took them off, and their coats
with them; they ate when and where they pleased, and moved as often as
they pleased. There were to be speeches and singing, but no one had to
listen who did not care to; if he wished, meantime, to speak or sing
himself, he was perfectly free. The resulting medley of sound distracted
no one, save possibly alone the babies, of which there were present a
number equal to the total possessed by all the guests invited. There was
no other place for the babies to be, and so part of the preparations
for the evening consisted of a collection of cribs and carriages in one
corner. In these the babies slept, three or four together, or wakened
together, as the case might be. Those who were still older, and could
reach the tables, marched about munching contentedly at meat bones and
bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save
for a calendar, a picture of a race horse, and a family tree in a gilded
frame. To the right there is a door from the saloon, with a few loafers
in the doorway, and in the corner beyond it a bar, with a presiding
genius clad in soiled white, with waxed black mustaches and a carefully
oiled curl plastered against one side of his forehead. In the opposite
corner are two tables, filling a third of the room and laden with
dishes and cold viands, which a few of the hungrier guests are already
munching. At the head, where sits the bride, is a snow-white cake, with
an Eiffel tower of constructed decoration, with sugar roses and two
angels upon it, and a generous sprinkling of pink and green and yellow
candies. Beyond opens a door into the kitchen, where there is a glimpse
to be had of a range with much steam ascending from it, and many women,
old and young, rushing hither and thither. In the corner to the left are
the three musicians, upon a little platform, toiling heroically to make
some impression upon the hubbub; also the babies, similarly occupied,
and an open window whence the populace imbibes the sights and sounds and
odors.

Suddenly some of the steam begins to advance, and, peering through it,
you discern Aunt Elizabeth, Ona's stepmother--Teta Elzbieta, as they
call her--bearing aloft a great platter of stewed duck. Behind her is
Kotrina, making her way cautiously, staggering beneath a similar burden;
and half a minute later there appears old Grandmother Majauszkiene, with
a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit
by bit, the feast takes form--there is a ham and a dish of sauerkraut,
boiled rice, macaroni, bologna sausages, great piles of penny buns,
bowls of milk, and foaming pitchers of beer. There is also, not six feet
from your back, the bar, where you may order all you please and do not
have to pay for it. "Eiksz! Graicziau!" screams Marija Berczynskas, and
falls to work herself--for there is more upon the stove inside that will
be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the
guests take their places. The young men, who for the most part have
been huddled near the door, summon their resolution and advance; and the
shrinking Jurgis is poked and scolded by the old folks until he consents
to seat himself at the right hand of the bride. The two bridesmaids,
whose insignia of office are paper wreaths, come next, and after them
the rest of the guests, old and young, boys and girls. The spirit of the
occasion takes hold of the stately bartender, who condescends to a plate
of stewed duck; even the fat policeman--whose duty it will be, later in
the evening, to break up the fights--draws up a chair to the foot of the
table. And the children shout and the babies yell, and every one laughs
and sings and chatters--while above all the deafening clamor Cousin
Marija shouts orders to the musicians.

The musicians--how shall one begin to describe them? All this time they
have been there, playing in a mad frenzy--all of this scene must be
read, or said, or sung, to music. It is the music which makes it what
it is; it is the music which changes the place from the rear room of
a saloon in back of the yards to a fairy place, a wonderland, a little
corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle
is out of tune, and there is no rosin on his bow, but still he is an
inspired man--the hands of the muses have been laid upon him. He plays
like one possessed by a demon, by a whole horde of demons. You can
feel them in the air round about him, capering frenetically; with their
invisible feet they set the pace, and the hair of the leader of the
orchestra rises on end, and his eyeballs start from their sockets, as he
toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the
violin by practicing all night, after working all day on the "killing
beds." He is in his shirt sleeves, with a vest figured with faded gold
horseshoes, and a pink-striped shirt, suggestive of peppermint candy.
A pair of military trousers, light blue with a yellow stripe, serve to
give that suggestion of authority proper to the leader of a band. He is
only about five feet high, but even so these trousers are about eight
inches short of the ground. You wonder where he can have gotten them or
rather you would wonder, if the excitement of being in his presence left
you time to think of such things.

For he is an inspired man. Every inch of him is inspired--you might
almost say inspired separately. He stamps with his feet, he tosses his
head, he sways and swings to and fro; he has a wizened-up little face,
irresistibly comical; and, when he executes a turn or a flourish, his
brows knit and his lips work and his eyelids wink--the very ends of
his necktie bristle out. And every now and then he turns upon his
companions, nodding, signaling, beckoning frantically--with every inch
of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of
the orchestra. The second violin is a Slovak, a tall, gaunt man with
black-rimmed spectacles and the mute and patient look of an overdriven
mule; he responds to the whip but feebly, and then always falls
back into his old rut. The third man is very fat, with a round, red,
sentimental nose, and he plays with his eyes turned up to the sky and a
look of infinite yearning. He is playing a bass part upon his cello,
and so the excitement is nothing to him; no matter what happens in the
treble, it is his task to saw out one long-drawn and lugubrious note
after another, from four o'clock in the afternoon until nearly the same
hour next morning, for his third of the total income of one dollar per
hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika
has risen in his excitement; a minute or two more and you see that he is
beginning to edge over toward the tables. His nostrils are dilated and
his breath comes fast--his demons are driving him. He nods and shakes
his head at his companions, jerking at them with his violin, until at
last the long form of the second violinist also rises up. In the end
all three of them begin advancing, step by step, upon the banqueters,
Valentinavyczia, the cellist, bumping along with his instrument between
notes. Finally all three are gathered at the foot of the tables, and
there Tamoszius mounts upon a stool.

Now he is in his glory, dominating the scene. Some of the people are
eating, some are laughing and talking--but you will make a great mistake
if you think there is one of them who does not hear him. His notes
are never true, and his fiddle buzzes on the low ones and squeaks and
scratches on the high; but these things they heed no more than they heed
the dirt and noise and squalor about them--it is out of this material
that they have to build their lives, with it that they have to utter
their souls. And this is their utterance; merry and boisterous, or
mournful and wailing, or passionate and rebellious, this music is their
music, music of home. It stretches out its arms to them, they have
only to give themselves up. Chicago and its saloons and its slums fade
away--there are green meadows and sunlit rivers, mighty forests and
snow-clad hills. They behold home landscapes and childhood scenes
returning; old loves and friendships begin to waken, old joys and griefs
to laugh and weep. Some fall back and close their eyes, some beat upon
the table. Now and then one leaps up with a cry and calls for this song
or that; and then the fire leaps brighter in Tamoszius' eyes, and he
flings up his fiddle and shouts to his companions, and away they go in
mad career. The company takes up the choruses, and men and women cry out
like all possessed; some leap to their feet and stamp upon the floor,
lifting their glasses and pledging each other. Before long it occurs to
some one to demand an old wedding song, which celebrates the beauty of
the bride and the joys of love. In the excitement of this masterpiece
Tamoszius Kuszleika begins to edge in between the tables, making his
way toward the head, where sits the bride. There is not a foot of space
between the chairs of the guests, and Tamoszius is so short that he
pokes them with his bow whenever he reaches over for the low notes; but
still he presses in, and insists relentlessly that his companions must
follow. During their progress, needless to say, the sounds of the cello
are pretty well extinguished; but at last the three are at the head, and
Tamoszius takes his station at the right hand of the bride and begins to
pour out his soul in melting strains.

Little Ona is too excited to eat. Once in a while she tastes a little
something, when Cousin Marija pinches her elbow and reminds her; but,
for the most part, she sits gazing with the same fearful eyes of wonder.
Teta Elzbieta is all in a flutter, like a hummingbird; her sisters,
too, keep running up behind her, whispering, breathless. But Ona seems
scarcely to hear them--the music keeps calling, and the far-off look
comes back, and she sits with her hands pressed together over her heart.
Then the tears begin to come into her eyes; and as she is ashamed to
wipe them away, and ashamed to let them run down her cheeks, she turns
and shakes her head a little, and then flushes red when she sees that
Jurgis is watching her. When in the end Tamoszius Kuszleika has reached
her side, and is waving his magic wand above her, Ona's cheeks are
scarlet, and she looks as if she would have to get up and run away.

In this crisis, however, she is saved by Marija Berczynskas, whom
the muses suddenly visit. Marija is fond of a song, a song of lovers'
parting; she wishes to hear it, and, as the musicians do not know it,
she has risen, and is proceeding to teach them. Marija is short, but
powerful in build. She works in a canning factory, and all day long she
handles cans of beef that weigh fourteen pounds. She has a broad
Slavic face, with prominent red cheeks. When she opens her mouth, it
is tragical, but you cannot help thinking of a horse. She wears a blue
flannel shirt-waist, which is now rolled up at the sleeves, disclosing
her brawny arms; she has a carving fork in her hand, with which she
pounds on the table to mark the time. As she roars her song, in a voice
of which it is enough to say that it leaves no portion of the room
vacant, the three musicians follow her, laboriously and note by note,
but averaging one note behind; thus they toil through stanza after
stanza of a lovesick swain's lamentation:--

     "Sudiev' kvietkeli, tu brangiausis;
     Sudiev' ir laime, man biednam,
     Matau--paskyre teip Aukszcziausis,
     Jog vargt ant svieto reik vienam!"

When the song is over, it is time for the speech, and old Dede Antanas
rises to his feet. Grandfather Anthony, Jurgis' father, is not more than
sixty years of age, but you would think that he was eighty. He has been
only six months in America, and the change has not done him good. In his
manhood he worked in a cotton mill, but then a coughing fell upon him,
and he had to leave; out in the country the trouble disappeared, but he
has been working in the pickle rooms at Durham's, and the breathing of
the cold, damp air all day has brought it back. Now as he rises he is
seized with a coughing fit, and holds himself by his chair and turns
away his wan and battered face until it passes.

Generally it is the custom for the speech at a veselija to be taken out
of one of the books and learned by heart; but in his youthful days Dede
Antanas used to be a scholar, and really make up all the love letters
of his friends. Now it is understood that he has composed an original
speech of congratulation and benediction, and this is one of the events
of the day. Even the boys, who are romping about the room, draw near and
listen, and some of the women sob and wipe their aprons in their eyes.
It is very solemn, for Antanas Rudkus has become possessed of the idea
that he has not much longer to stay with his children. His speech leaves
them all so tearful that one of the guests, Jokubas Szedvilas, who keeps
a delicatessen store on Halsted Street, and is fat and hearty, is moved
to rise and say that things may not be as bad as that, and then to go on
and make a little speech of his own, in which he showers congratulations
and prophecies of happiness upon the bride and groom, proceeding to
particulars which greatly delight the young men, but which cause Ona
to blush more furiously than ever. Jokubas possesses what his
wife complacently describes as "poetiszka vaidintuve"--a poetical
imagination.

Now a good many of the guests have finished, and, since there is no
pretense of ceremony, the banquet begins to break up. Some of the men
gather about the bar; some wander about, laughing and singing; here
and there will be a little group, chanting merrily, and in sublime
indifference to the others and to the orchestra as well. Everybody is
more or less restless--one would guess that something is on their minds.
And so it proves. The last tardy diners are scarcely given time to
finish, before the tables and the debris are shoved into the corner, and
the chairs and the babies piled out of the way, and the real celebration
of the evening begins. Then Tamoszius Kuszleika, after replenishing
himself with a pot of beer, returns to his platform, and, standing up,
reviews the scene; he taps authoritatively upon the side of his violin,
then tucks it carefully under his chin, then waves his bow in an
elaborate flourish, and finally smites the sounding strings and closes
his eyes, and floats away in spirit upon the wings of a dreamy waltz.
His companion follows, but with his eyes open, watching where he treads,
so to speak; and finally Valentinavyczia, after waiting for a little and
beating with his foot to get the time, casts up his eyes to the ceiling
and begins to saw--"Broom! broom! broom!"

The company pairs off quickly, and the whole room is soon in motion.
Apparently nobody knows how to waltz, but that is nothing of any
consequence--there is music, and they dance, each as he pleases, just
as before they sang. Most of them prefer the "two-step," especially the
young, with whom it is the fashion. The older people have dances from
home, strange and complicated steps which they execute with grave
solemnity. Some do not dance anything at all, but simply hold each
other's hands and allow the undisciplined joy of motion to express
itself with their feet. Among these are Jokubas Szedvilas and his wife,
Lucija, who together keep the delicatessen store, and consume nearly
as much as they sell; they are too fat to dance, but they stand in the
middle of the floor, holding each other fast in their arms, rocking
slowly from side to side and grinning seraphically, a picture of
toothless and perspiring ecstasy.

Of these older people many wear clothing reminiscent in some detail
of home--an embroidered waistcoat or stomacher, or a gaily colored
handkerchief, or a coat with large cuffs and fancy buttons. All these
things are carefully avoided by the young, most of whom have learned to
speak English and to affect the latest style of clothing. The girls wear
ready-made dresses or shirt waists, and some of them look quite pretty.
Some of the young men you would take to be Americans, of the type of
clerks, but for the fact that they wear their hats in the room. Each of
these younger couples affects a style of its own in dancing. Some hold
each other tightly, some at a cautious distance. Some hold their
hands out stiffly, some drop them loosely at their sides. Some dance
springily, some glide softly, some move with grave dignity. There are
boisterous couples, who tear wildly about the room, knocking every one
out of their way. There are nervous couples, whom these frighten, and
who cry, "Nusfok! Kas yra?" at them as they pass. Each couple is paired
for the evening--you will never see them change about. There is Alena
Jasaityte, for instance, who has danced unending hours with Juozas
Raczius, to whom she is engaged. Alena is the beauty of the evening,
and she would be really beautiful if she were not so proud. She wears
a white shirtwaist, which represents, perhaps, half a week's labor
painting cans. She holds her skirt with her hand as she dances, with
stately precision, after the manner of the grandes dames. Juozas is
driving one of Durham's wagons, and is making big wages. He affects a
"tough" aspect, wearing his hat on one side and keeping a cigarette in
his mouth all the evening. Then there is Jadvyga Marcinkus, who is also
beautiful, but humble. Jadvyga likewise paints cans, but then she has
an invalid mother and three little sisters to support by it, and so she
does not spend her wages for shirtwaists. Jadvyga is small and delicate,
with jet-black eyes and hair, the latter twisted into a little knot and
tied on the top of her head. She wears an old white dress which she
has made herself and worn to parties for the past five years; it is
high-waisted--almost under her arms, and not very becoming,--but that
does not trouble Jadvyga, who is dancing with her Mikolas. She is small,
while he is big and powerful; she nestles in his arms as if she would
hide herself from view, and leans her head upon his shoulder. He in turn
has clasped his arms tightly around her, as if he would carry her away;
and so she dances, and will dance the entire evening, and would dance
forever, in ecstasy of bliss. You would smile, perhaps, to see them--but
you would not smile if you knew all the story. This is the fifth year,
now, that Jadvyga has been engaged to Mikolas, and her heart is sick.
They would have been married in the beginning, only Mikolas has a father
who is drunk all day, and he is the only other man in a large family.
Even so they might have managed it (for Mikolas is a skilled man) but
for cruel accidents which have almost taken the heart out of them. He is
a beef-boner, and that is a dangerous trade, especially when you are on
piecework and trying to earn a bride. Your hands are slippery, and your
knife is slippery, and you are toiling like mad, when somebody happens
to speak to you, or you strike a bone. Then your hand slips up on the
blade, and there is a fearful gash. And that would not be so bad, only
for the deadly contagion. The cut may heal, but you never can tell.
Twice now; within the last three years, Mikolas has been lying at home
with blood poisoning--once for three months and once for nearly seven.
The last time, too, he lost his job, and that meant six weeks more of
standing at the doors of the packing houses, at six o'clock on bitter
winter mornings, with a foot of snow on the ground and more in the air.
There are learned people who can tell you out of the statistics that
beef-boners make forty cents an hour, but, perhaps, these people have
never looked into a beef-boner's hands.

When Tamoszius and his companions stop for a rest, as perforce they
must, now and then, the dancers halt where they are and wait patiently.
They never seem to tire; and there is no place for them to sit down
if they did. It is only for a minute, anyway, for the leader starts up
again, in spite of all the protests of the other two. This time it is
another sort of a dance, a Lithuanian dance. Those who prefer to, go on
with the two-step, but the majority go through an intricate series of
motions, resembling more fancy skating than a dance. The climax of it is
a furious prestissimo, at which the couples seize hands and begin a mad
whirling. This is quite irresistible, and every one in the room joins
in, until the place becomes a maze of flying skirts and bodies quite
dazzling to look upon. But the sight of sights at this moment is
Tamoszius Kuszleika. The old fiddle squeaks and shrieks in protest, but
Tamoszius has no mercy. The sweat starts out on his forehead, and he
bends over like a cyclist on the last lap of a race. His body shakes and
throbs like a runaway steam engine, and the ear cannot follow the flying
showers of notes--there is a pale blue mist where you look to see his
bowing arm. With a most wonderful rush he comes to the end of the tune,
and flings up his hands and staggers back exhausted; and with a final
shout of delight the dancers fly apart, reeling here and there, bringing
up against the walls of the room.

After this there is beer for every one, the musicians included, and
the revelers take a long breath and prepare for the great event of the
evening, which is the acziavimas. The acziavimas is a ceremony which,
once begun, will continue for three or four hours, and it involves one
uninterrupted dance. The guests form a great ring, locking hands, and,
when the music starts up, begin to move around in a circle. In the
center stands the bride, and, one by one, the men step into the
enclosure and dance with her. Each dances for several minutes--as long
as he pleases; it is a very merry proceeding, with laughter and singing,
and when the guest has finished, he finds himself face to face with Teta
Elzbieta, who holds the hat. Into it he drops a sum of money--a dollar,
or perhaps five dollars, according to his power, and his estimate of
the value of the privilege. The guests are expected to pay for this
entertainment; if they be proper guests, they will see that there is a
neat sum left over for the bride and bridegroom to start life upon.

Most fearful they are to contemplate, the expenses of this
entertainment. They will certainly be over two hundred dollars and maybe
three hundred; and three hundred dollars is more than the year's income
of many a person in this room. There are able-bodied men here who work
from early morning until late at night, in ice-cold cellars with a
quarter of an inch of water on the floor--men who for six or seven
months in the year never see the sunlight from Sunday afternoon till
the next Sunday morning--and who cannot earn three hundred dollars in
a year. There are little children here, scarce in their teens, who can
hardly see the top of the work benches--whose parents have lied to get
them their places--and who do not make the half of three hundred dollars
a year, and perhaps not even the third of it. And then to spend such
a sum, all in a single day of your life, at a wedding feast! (For
obviously it is the same thing, whether you spend it at once for your
own wedding, or in a long time, at the weddings of all your friends.)

It is very imprudent, it is tragic--but, ah, it is so beautiful! Bit by
bit these poor people have given up everything else; but to this
they cling with all the power of their souls--they cannot give up the
veselija! To do that would mean, not merely to be defeated, but to
acknowledge defeat--and the difference between these two things is what
keeps the world going. The veselija has come down to them from a far-off
time; and the meaning of it was that one might dwell within the cave
and gaze upon shadows, provided only that once in his lifetime he could
break his chains, and feel his wings, and behold the sun; provided that
once in his lifetime he might testify to the fact that life, with all
its cares and its terrors, is no such great thing after all, but merely
a bubble upon the surface of a river, a thing that one may toss about
and play with as a juggler tosses his golden balls, a thing that one may
quaff, like a goblet of rare red wine. Thus having known himself for
the master of things, a man could go back to his toil and live upon the
memory all his days.

Endlessly the dancers swung round and round--when they were dizzy they
swung the other way. Hour after hour this had continued--the darkness
had fallen and the room was dim from the light of two smoky oil lamps.
The musicians had spent all their fine frenzy by now, and played only
one tune, wearily, ploddingly. There were twenty bars or so of it, and
when they came to the end they began again. Once every ten minutes or so
they would fail to begin again, but instead would sink back exhausted; a
circumstance which invariably brought on a painful and terrifying scene,
that made the fat policeman stir uneasily in his sleeping place behind
the door.

It was all Marija Berczynskas. Marija was one of those hungry souls who
cling with desperation to the skirts of the retreating muse. All day
long she had been in a state of wonderful exaltation; and now it was
leaving--and she would not let it go. Her soul cried out in the words of
Faust, "Stay, thou art fair!" Whether it was by beer, or by shouting, or
by music, or by motion, she meant that it should not go. And she would
go back to the chase of it--and no sooner be fairly started than her
chariot would be thrown off the track, so to speak, by the stupidity of
those thrice accursed musicians. Each time, Marija would emit a howl and
fly at them, shaking her fists in their faces, stamping upon the floor,
purple and incoherent with rage. In vain the frightened Tamoszius would
attempt to speak, to plead the limitations of the flesh; in vain would
the puffing and breathless ponas Jokubas insist, in vain would Teta
Elzbieta implore. "Szalin!" Marija would scream. "Palauk! isz kelio!
What are you paid for, children of hell?" And so, in sheer terror, the
orchestra would strike up again, and Marija would return to her place
and take up her task.

She bore all the burden of the festivities now. Ona was kept up by her
excitement, but all of the women and most of the men were tired--the
soul of Marija was alone unconquered. She drove on the dancers--what had
once been the ring had now the shape of a pear, with Marija at the stem,
pulling one way and pushing the other, shouting, stamping, singing, a
very volcano of energy. Now and then some one coming in or out would
leave the door open, and the night air was chill; Marija as she passed
would stretch out her foot and kick the doorknob, and slam would go
the door! Once this procedure was the cause of a calamity of which
Sebastijonas Szedvilas was the hapless victim. Little Sebastijonas, aged
three, had been wandering about oblivious to all things, holding turned
up over his mouth a bottle of liquid known as "pop," pink-colored,
ice-cold, and delicious. Passing through the doorway the door smote
him full, and the shriek which followed brought the dancing to a halt.
Marija, who threatened horrid murder a hundred times a day, and would
weep over the injury of a fly, seized little Sebastijonas in her arms
and bid fair to smother him with kisses. There was a long rest for the
orchestra, and plenty of refreshments, while Marija was making her peace
with her victim, seating him upon the bar, and standing beside him and
holding to his lips a foaming schooner of beer.

In the meantime there was going on in another corner of the room an
anxious conference between Teta Elzbieta and Dede Antanas, and a few of
the more intimate friends of the family. A trouble was come upon them.
The veselija is a compact, a compact not expressed, but therefore only
the more binding upon all. Every one's share was different--and yet
every one knew perfectly well what his share was, and strove to give a
little more. Now, however, since they had come to the new country, all
this was changing; it seemed as if there must be some subtle poison in
the air that one breathed here--it was affecting all the young men at
once. They would come in crowds and fill themselves with a fine dinner,
and then sneak off. One would throw another's hat out of the window, and
both would go out to get it, and neither could be seen again. Or now
and then half a dozen of them would get together and march out openly,
staring at you, and making fun of you to your face. Still others, worse
yet, would crowd about the bar, and at the expense of the host drink
themselves sodden, paying not the least attention to any one, and
leaving it to be thought that either they had danced with the bride
already, or meant to later on.

All these things were going on now, and the family was helpless with
dismay. So long they had toiled, and such an outlay they had made! Ona
stood by, her eyes wide with terror. Those frightful bills--how they had
haunted her, each item gnawing at her soul all day and spoiling her rest
at night. How often she had named them over one by one and figured
on them as she went to work--fifteen dollars for the hall, twenty-two
dollars and a quarter for the ducks, twelve dollars for the musicians,
five dollars at the church, and a blessing of the Virgin besides--and so
on without an end! Worst of all was the frightful bill that was still to
come from Graiczunas for the beer and liquor that might be consumed.
One could never get in advance more than a guess as to this from
a saloon-keeper--and then, when the time came he always came to you
scratching his head and saying that he had guessed too low, but that he
had done his best--your guests had gotten so very drunk. By him you
were sure to be cheated unmercifully, and that even though you thought
yourself the dearest of the hundreds of friends he had. He would begin
to serve your guests out of a keg that was half full, and finish with
one that was half empty, and then you would be charged for two kegs of
beer. He would agree to serve a certain quality at a certain price, and
when the time came you and your friends would be drinking some horrible
poison that could not be described. You might complain, but you would
get nothing for your pains but a ruined evening; while, as for going to
law about it, you might as well go to heaven at once. The saloon-keeper
stood in with all the big politics men in the district; and when you had
once found out what it meant to get into trouble with such people, you
would know enough to pay what you were told to pay and shut up.

What made all this the more painful was that it was so hard on the few
that had really done their best. There was poor old ponas Jokubas, for
instance--he had already given five dollars, and did not every one know
that Jokubas Szedvilas had just mortgaged his delicatessen store for two
hundred dollars to meet several months' overdue rent? And then there was
withered old poni Aniele--who was a widow, and had three children, and
the rheumatism besides, and did washing for the tradespeople on Halsted
Street at prices it would break your heart to hear named. Aniele had
given the entire profit of her chickens for several months. Eight of
them she owned, and she kept them in a little place fenced around on her
backstairs. All day long the children of Aniele were raking in the dump
for food for these chickens; and sometimes, when the competition there
was too fierce, you might see them on Halsted Street walking close to
the gutters, and with their mother following to see that no one robbed
them of their finds. Money could not tell the value of these chickens
to old Mrs. Jukniene--she valued them differently, for she had a feeling
that she was getting something for nothing by means of them--that with
them she was getting the better of a world that was getting the better
of her in so many other ways. So she watched them every hour of the day,
and had learned to see like an owl at night to watch them then. One of
them had been stolen long ago, and not a month passed that some one
did not try to steal another. As the frustrating of this one attempt
involved a score of false alarms, it will be understood what a tribute
old Mrs. Jukniene brought, just because Teta Elzbieta had once loaned
her some money for a few days and saved her from being turned out of her
house.

More and more friends gathered round while the lamentation about
these things was going on. Some drew nearer, hoping to overhear the
conversation, who were themselves among the guilty--and surely that was
a thing to try the patience of a saint. Finally there came Jurgis,
urged by some one, and the story was retold to him. Jurgis listened in
silence, with his great black eyebrows knitted. Now and then there would
come a gleam underneath them and he would glance about the room. Perhaps
he would have liked to go at some of those fellows with his big clenched
fists; but then, doubtless, he realized how little good it would do him.
No bill would be any less for turning out any one at this time; and then
there would be the scandal--and Jurgis wanted nothing except to get away
with Ona and to let the world go its own way. So his hands relaxed and
he merely said quietly: "It is done, and there is no use in weeping,
Teta Elzbieta." Then his look turned toward Ona, who stood close to his
side, and he saw the wide look of terror in her eyes. "Little one," he
said, in a low voice, "do not worry--it will not matter to us. We will
pay them all somehow. I will work harder." That was always what Jurgis
said. Ona had grown used to it as the solution of all difficulties--"I
will work harder!" He had said that in Lithuania when one official had
taken his passport from him, and another had arrested him for being
without it, and the two had divided a third of his belongings. He had
said it again in New York, when the smooth-spoken agent had taken them
in hand and made them pay such high prices, and almost prevented their
leaving his place, in spite of their paying. Now he said it a third
time, and Ona drew a deep breath; it was so wonderful to have a husband,
just like a grown woman--and a husband who could solve all problems, and
who was so big and strong!

The last sob of little Sebastijonas has been stifled, and the orchestra
has once more been reminded of its duty. The ceremony begins again--but
there are few now left to dance with, and so very soon the collection is
over and promiscuous dances once more begin. It is now after midnight,
however, and things are not as they were before. The dancers are dull
and heavy--most of them have been drinking hard, and have long ago
passed the stage of exhilaration. They dance in monotonous measure,
round after round, hour after hour, with eyes fixed upon vacancy, as if
they were only half conscious, in a constantly growing stupor. The men
grasp the women very tightly, but there will be half an hour together
when neither will see the other's face. Some couples do not care to
dance, and have retired to the corners, where they sit with their arms
enlaced. Others, who have been drinking still more, wander about the
room, bumping into everything; some are in groups of two or three,
singing, each group its own song. As time goes on there is a variety
of drunkenness, among the younger men especially. Some stagger about in
each other's arms, whispering maudlin words--others start quarrels upon
the slightest pretext, and come to blows and have to be pulled apart.
Now the fat policeman wakens definitely, and feels of his club to
see that it is ready for business. He has to be prompt--for these
two-o'clock-in-the-morning fights, if they once get out of hand, are
like a forest fire, and may mean the whole reserves at the station. The
thing to do is to crack every fighting head that you see, before there
are so many fighting heads that you cannot crack any of them. There is
but scant account kept of cracked heads in back of the yards, for men
who have to crack the heads of animals all day seem to get into the
habit, and to practice on their friends, and even on their families,
between times. This makes it a cause for congratulation that by
modern methods a very few men can do the painfully necessary work of
head-cracking for the whole of the cultured world.

There is no fight that night--perhaps because Jurgis, too, is
watchful--even more so than the policeman. Jurgis has drunk a great
deal, as any one naturally would on an occasion when it all has to be
paid for, whether it is drunk or not; but he is a very steady man, and
does not easily lose his temper. Only once there is a tight shave--and
that is the fault of Marija Berczynskas. Marija has apparently concluded
about two hours ago that if the altar in the corner, with the deity in
soiled white, be not the true home of the muses, it is, at any rate,
the nearest substitute on earth attainable. And Marija is just fighting
drunk when there come to her ears the facts about the villains who have
not paid that night. Marija goes on the warpath straight off, without
even the preliminary of a good cursing, and when she is pulled off it
is with the coat collars of two villains in her hands. Fortunately, the
policeman is disposed to be reasonable, and so it is not Marija who is
flung out of the place.

All this interrupts the music for not more than a minute or two. Then
again the merciless tune begins--the tune that has been played for the
last half-hour without one single change. It is an American tune this
time, one which they have picked up on the streets; all seem to know the
words of it--or, at any rate, the first line of it, which they hum
to themselves, over and over again without rest: "In the good old
summertime--in the good old summertime! In the good old summertime--in
the good old summertime!" There seems to be something hypnotic about
this, with its endlessly recurring dominant. It has put a stupor upon
every one who hears it, as well as upon the men who are playing it. No
one can get away from it, or even think of getting away from it; it is
three o'clock in the morning, and they have danced out all their joy,
and danced out all their strength, and all the strength that unlimited
drink can lend them--and still there is no one among them who has the
power to think of stopping. Promptly at seven o'clock this same Monday
morning they will every one of them have to be in their places at
Durham's or Brown's or Jones's, each in his working clothes. If one of
them be a minute late, he will be docked an hour's pay, and if he be
many minutes late, he will be apt to find his brass check turned to the
wall, which will send him out to join the hungry mob that waits every
morning at the gates of the packing houses, from six o'clock until
nearly half-past eight. There is no exception to this rule, not even
little Ona--who has asked for a holiday the day after her wedding day,
a holiday without pay, and been refused. While there are so many who
are anxious to work as you wish, there is no occasion for incommoding
yourself with those who must work otherwise.

Little Ona is nearly ready to faint--and half in a stupor herself,
because of the heavy scent in the room. She has not taken a drop, but
every one else there is literally burning alcohol, as the lamps are
burning oil; some of the men who are sound asleep in their chairs or
on the floor are reeking of it so that you cannot go near them. Now
and then Jurgis gazes at her hungrily--he has long since forgotten his
shyness; but then the crowd is there, and he still waits and watches the
door, where a carriage is supposed to come. It does not, and finally he
will wait no longer, but comes up to Ona, who turns white and trembles.
He puts her shawl about her and then his own coat. They live only two
blocks away, and Jurgis does not care about the carriage.

There is almost no farewell--the dancers do not notice them, and all
of the children and many of the old folks have fallen asleep of sheer
exhaustion. Dede Antanas is asleep, and so are the Szedvilases, husband
and wife, the former snoring in octaves. There is Teta Elzbieta, and
Marija, sobbing loudly; and then there is only the silent night, with
the stars beginning to pale a little in the east. Jurgis, without a
word, lifts Ona in his arms, and strides out with her, and she sinks her
head upon his shoulder with a moan. When he reaches home he is not sure
whether she has fainted or is asleep, but when he has to hold her with
one hand while he unlocks the door, he sees that she has opened her
eyes.

"You shall not go to Brown's today, little one," he whispers, as he
climbs the stairs; and she catches his arm in terror, gasping: "No! No!
I dare not! It will ruin us!"

But he answers her again: "Leave it to me; leave it to me. I will earn
more money--I will work harder."

A wedding ends at four o'clock in the afternoon, and Marija Berczynskas prepares for the festivities that follow. She is in charge of the entire wedding day activities, the veselija, and she uses her "broad shoulders" and "tremendous voice" to make sure everyone is in the correct place at the correct time. When a carriage driver "develop a will of his own," Marija puts him in his place and makes sure the festivities continue. The wedding party drives down Ashland Avenue, located in the "back of the yards" in Chicago, and gathers in the community hall for music and food. The party celebrates the marriage of Ona Lukoszaite and Jurgis Rudkus. Though Jurgis "could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger," the wedding and the party leave him "frightened as a hunted animal," and he stands nervously in a corner. The guests, all of Lithuanian heritage and ancestry, gather in the community hall with a "charming informality." The room is filled with food. In the kitchen, women work over stoves and steaming pots. They rush "hither and thither" with platters and bowls of duck, potatoes, ham, sauerkraut, and rice. There is an open bar in the back of the hall. Jurgis is cajoled into sitting next to Ona at the wedding table and the feast begins. While they eat, a group of musicians, led by Tamoszius Kuszleika, begins to play. Tamoszius, a small man who works on the killing lines by day and teaches himself violin at night, is also "an inspired man." He stamps his feet and moves his entire body while he goads his companions into following him in his music. The band's other two members are not as enthusiastic as Tamoszius but they dutifully play their parts "from four o'clock in the afternoon until nearly the same hour next morning," while each earns a dollar an hour. The bride, Ona, is too excited to eat and cries when Tamoszius Kuszleika plays a traditional Lithuanian wedding song. She almost jumps up and runs out of the room, but Marija saves the moment by leading the band in a song about two departing lovers. Marija is a strong woman who lifts fourteen-pound cans for a living. Jurgis's father, Dede Antanas, stands up to give a speech that he has written for the occasion. It is a sad speech, not only because Dede Antanas is very sick with a persistent cough, but also because he believes he will die soon and leave his family. As the last diners finish, all of the chairs and tables are moved, and dancing begins, the "real celebration of the evening." Tamouszius Kuszleika begins his elaborate dancing and playing, and the wedding guests pair off. The young people do the "two-step," and the older people perform old Lithuanian dances. Both the dancing and the attire differs between the generations. The older people wear waistcoats and stomachers, while "some of the young men you would take to be Americans, of the type of clerks, but for the fact that they wear their hats in the room." The dancing is contagious, and soon everyone joins in some fashion. Jadvyga Marcinkus and her fiance of five years, Mikolas, dance "as if he would carry her away." Mikolas is a beef-boner, which is dangerous work because "your hands are slippery, and your knife is slippery, and you are toiling like mad...Then your hand slips up on the blade, and there is a fearful gash." Mikolas has had several of these cuts, one of which caused a deep infection. He lost his job after a seven-month absence and stood in line for six months before being hired on at another company. Because Mikolas has his mother, brothers, and sisters to support, he and Jadvyga cannot afford to marry. The dancing closes with a flurry of twirling and spinning and the guests prepare for the night's great event, the acziavimas. In this four-hour ceremony, the entire wedding party gathers around the bride in a circle. Each man in the room has the chance to dance with Ona for as long as he wants. At the end of the dance, the man goes to Ona's stepmother, Teta Elzbieta, and drops a sum of money into a hat. It is understood by everyone that the wedding feast could cost as much as three hundred dollars, "more than the year's income of many a person" in the room. Each person gives, however, because "they cannot give up the veselija," and to do so would "acknowledge defeat." The ceremony continues for hours. When the musicians tire and begin to sit back and rest, Marija Berczynskas is immediately on them, reminding them that they are being paid to play and that they must continue. Only young Sebastionas, a small boy who is hurt by a slamming door, can draw her attention away from the wedding festivities. In the corner of the room, Teta Elzbieta and Dede Antanas have a nervous conversation. Customs in this new world are changing. Many of the young men come to the festivities, eat, drink, and then leave without paying their due to the family. Some sneak out; others walk out boldly, daring the family to make them pay for their share of the party. Ona stands in terror, thinking of the massive bills that will come due. Everything costs money, especially the saloonkeeper, who provides the beer and liquor and who is a cheat. Many of the older people pay more than their share. Jokubas Szedvilas pays five dollars even though he recently mortgaged his delicatessen store to pay his overdue rent. Old Mrs. Jukniene gives all the profit from the few chickens she keeps, even though her children must dig through the trash to find scraps to feed them. Jurgis comes to Ona to reassure her that he will work harder to pay the bills. It is a refrain that he has said many times. He said it when his possessions were stolen upon arriving in America; he said it when an agent at Ellis Island made him pay an exorbitant fee to leave the immigration station. The acziavimas ends, and the dancers return to the floor. The musicians began playing dance music again. Everyone is exhausted and drunk, and the policeman on duty is watchful. If a fight begins to break out, he will "crack" their heads. Only Marija begins a fight. She is drunk and becomes angry at two young men who have not paid their share for the wedding feast. The policeman breaks up the fight and expels the young men from the party. The band continues to repeatedly play a song, "In the good old summer time." Half of the room is passed out, either drunk or exhausted. Each of them will have to be up and at their jobs at seven o'clock or else they will be fired and have to stand in the long lines of unemployed outside of the factories. Even Ona, who had requested a day off from Brown's, must be at her station promptly. Jurgis, now tired and drunk himself, takes his bride to their home two blocks away. As he opens the door, he tells her that she will not go to work today. She begs him to reconsider, but he tells her, "I will earn more money--I will work harder."

The novel opens with Jurgis and Ona Rudkus's wedding feast. Jurgis is the novel's protagonist. This scene is actually a series of embellishments of a scene in the story that takes place in later chapters. The scene is a fictional recreation of a wedding feast that Sinclair observed while researching his novel and living in Packingtown. This scene sets the tone for the novel, combining a series of fictional events within the context of the real life of Lithuanian immigrants in early twentieth century Chicago. In literature, this style of writing is called "realism," a "faithful representation of reality" also called "verisimilitude." The realism in The Jungle comes from the perspective of the novel's immigrant protagonists. The character of Tamoszius Kuszleika is a representation of Upton Sinclair himself. In effect, through this character Sinclair writes himself into his novel. Sinclair's representation of himself in the novel demonstrates his own difficulty in dealing with the objective/subjective nature of journalistic fiction. He describes his attempts to portray the lives of these immigrants accurately as Tamouszius using a violin that he has taught himself to play. Instead of music, however, Sinclair is describing his passion for spreading the news of socialism. Sinclair recognizes his inability to bring a complete realism to his novel, just as Tamouszius cannot bring the talent of a trained musician to his music, yet, like Tamouszius, what Sinclair lacks in formal philosophical training, he makes up for in passion for his subject. This wedding scene also first describes an important theme in the novel, that of the growing "Americanization" of new generations. Sinclair uses two types of objective descriptions to make his case. These descriptions are in the feast's dancing and in the acziavimas ceremony. During the dancing, Sinclair uses an objective description of the dress of the wedding participants to paint a picture of the way in which younger immigrant generations slowly lose their sense of ethnicity characterized by the conventions of the older generations. In the second example, Sinclair describes the actions of these younger generations, through their refusal to pay the family for the privilege of attending the wedding and their abuse of the free food and drink provided. This first chapter establishes a sympathetic relationship between the reader and the novel's fictional characters. Sinclair knows that the general argument he hopes to make with the novel, that the United States should adopt socialist principle, depends upon the reader being able to identify with the plight of his characters. By describing the veselija in such detail, Sinclair hopes to create a world where readers can see themselves, which is a difficult task, since the years between 1870 - 1920 saw a marked rise in xenophobic attitudes in the American public. The closing section of this chapter shifts the novel's literary mood. The shift in mood mirrors the longer arc of the shift in literary mood that occurs through the novel. The chapter starts with a festive mood. All of the wedding guests are filled with hope for Jurgis and Ona and hope for the future of their people in America. In the middle of the festivities, a crisis occurs when the family cannot raise the money needed to pay for the wedding. This results in increased hardships and a darker mood for the family with Jurgis's promise to "work harder."

It's 4:00 PM, the wedding ceremony is over, and the reception is beginning. It's Chicago at the turn of the century, and all of the people involved in this celebration are working class. Most of the men labor in the Chicago stockyards - the giant slaughterhouses where cattle farmed in the Midwest became the meat people ate on the east coast. This reception has been organized by the cousin of the bride, Marija Berczynskas. But it's not exactly a reception sin the American sense of the word: it's a veselija, a Lithuanian celebration where all are welcome to come eat and drink as much as they can. The bride is Ona Lukoszaite, a tiny girl of fifteen; her new husband is a large, gentle fellow called Jurgis Rudkus. They are holding their veselija at a rented saloon, where a genius violinist and his less gifted buddies are playing a mixture of Lithuanian and American hits. Everyone is drinking and dancing up a storm - and there's also plenty of food, believe you me. The kitchen is filled with activity as Marija Berczynskas keeps the food moving out to the tables to make sure it all gets eaten. Ona is so excited that she can scarcely eat or drink. The violinist, Tamoszius Kuszleika, appears before her as though asking her to sing, but Ona is too nervous to respond. Her cousin Marija pipes up: it's a tragic song about lost love in untranslated Lithuanian, but we've found the English : "Good-bye to my dear flower,/ Good-bye to my good fortune,/ I see God has willed for me/ To suffer alone on this earth." The father of the groom, Antanas Rudkus, stands up to make a speech. It's rather dark, because Antanas thinks he is going to die soon. Everyone suddenly feels gloomy, so a guest, Jokubas Szedvilas, speaks up in congratulations for the bride and groom. The party cheers up again. As we survey the guests at the party, we can see a real generation gap: the older generation folks have all kept up the clothing of the old country, Lithuania. But the younger generation are wearing American styles and machine-sewn clothes . Many couples dance together all night: Alena Jasaityte dances with Juozas Raczius, her fiance. And Jadvyga Marcinkus dances with Mikolas, also her fiance. The two have been engaged for five years. Mikolas's father is an alcoholic and Mikolas is the only other man of the family, so he has to support his sisters. He and Jadvyga are having trouble finding the money to get married. Mikolas is also suffering from work-related injuries that make it hard for him to earn money: he is a beef-boner, which means he must handle the knives to cut meat away from the bone of the animal. Even though Mikolas is skilled at his job, he has to work so fast that sometimes, his knives slip. Because the knives are filthy, they cause persistent infections, so these cuts never really heal. Marija Berczynskas, Teta Elzbieta , and the newlywed's families are pleased that they have arranged this veselija. At the same time, it has cost them a lot of scratch. Part of the point of these celebrations is that people come with money or gifts for the newlyweds, which partly offset the cost of holding a veselija. But this new generation of American-raised Lithuanians doesn't respect the old ways. Lots of people come, eat, and leave without bringing any gifts or payment. Those who do bring payment are often so poor that they can't really afford much. Jurgis hears all of these worries and promises that it will be all right: he will work harder, and they'll figure something out. Everyone is exhausted - it's 3:00 AM - and the party is starting to break up. They've been drinking all night, but they all still need to go to work the next morning. This includes poor Ona, who asked for one unpaid day off after her wedding. Her bosses at Brown's meatpacking plant refused. Jurgis picks her up and carries her out of the saloon. He tells her not to worry: she won't go to work the next day. Ona tells him that's impossible. If she skips work, they'll be ruined. Jurgis reassures her and tells her to leave it to him: "I will earn more money - I will work harder" .

The Jungle begins on the wedding day of two Lithuanian immigrants, Jurgis and Ona, highlighting many of the traditional Lithuanian customs that family members like Marija and Teta Elzbieta attempt to keep alive now that they live in Chicago. Jurgis and Ona have had to wait a long time after immigrating to the United States and settling in Chicago for their wedding to occur due to the economic hardships they've suffered. These hardships are laid out in Chapter 2, as the book continues in a flashback to before the time they met in Lithuania. The flashback continues until Chapter 7 of the book, where the story catches up to the wedding of Jurgis and Ona. Although many people are getting their fill of food and drink, a majority of the guests aren't fulfilling their end of the unwritten agreement to give a gift of money, and the bride and groom don't receive enough funds to start their married life together. In fact, they aren't receiving enough money even to pay for the reception, though, following the Old World tradition, no guest will be turned away. Jurgis, the protagonist, attempts to accept responsibility for this situation by declaring, "I will work harder."

Upton Sinclair opens his novel in media res -- in the middle of the action -- capturing the variety of emotions that surround every wedding day. Marija's barking at the carriage driver not only reveals her temperament and provides a glimpse of her strength of character; it also allows Sinclair to provide some history for his characters as well as providing the setting for the entire text. Marija is one of many immigrants who now call Chicago home, and with whom the book is concerned. Most of the action takes place in Chicago at the turn of the century. The stockyards play a pivotal role, serving as both setting and character. As the setting, the stockyards capture a time and place -- the meat packing industry at the turn of the century. The stockyards can be considered a character due to the influence and effect they have on Jurgis and his family. Sinclair develops the stockyards -- through physical description, the comments of other characters, and direct commentary -- more than any other character in The Jungle. At the wedding feast, a variety of attitudes about life in America are revealed. The most important one comes from Dede Antanas  who "has been only six months in America," yet his toast to the newly married couple is pessimistic, revealing his disillusionment with America. Sinclair uses information he supplies about one character to reveal important information about many characters. For example, Ona, the bride, is small and dependent. Her physical description prepares readers for the difficulties she faces in Chicago and enables readers to understand why Jurgis feels a need to protect her. In opposition to Ona is her cousin, Marija, who is strong and concerned about appearances. Marija runs the entire wedding, and her emphasis on doing what is proper and right serves as a dark contrast to the woman she will become. From the onset, readers view Marija as a vigorous woman, a survivor. Other characters at the wedding serve as glimpses of both the present and the future: The elderly stubbornly cling to Lithuanian customs while the young disregard tradition. References are made to children scavenging the dump for chicken food. The saloonkeepers are cheating the families, and the families begrudgingly accept the swindling because the barmen have connections with the politicians. Some workers are unemployed because of blood poisoning. No workers, not even the bride or groom, are able to take a day off from their jobs. Other couples cannot marry for lack of money. Although the wedding feast is a time for celebration, it is only one day out of a dreary existence for all who live in Packingtown. Sinclair introduces Jurgis, the main character, almost in an aside. Not much is revealed about the man, although he is described as a "hunted animal." Animal imagery plays a significant part throughout the development of characters and themes in The Jungle, as are the last words of the chapter, "I will work harder." These words characterize Jurgis; however, many times when things are out of his control, so it doesn't matter how hard he works, he still may not succeed. Stylistically, the narrative structure of The Jungle bothers some readers because Sinclair uses an all-knowing narrator. Sinclair used this form for a variety of reasons. First of all, The Jungle, like most novels of this time period, was originally published in serial form, and this type of narrative functions well in that particular format: Having a narrative voice outside the story to relate the action makes it easier for readers to follow the installments. Readers who don't appreciate this style do not typically enjoy early  novels because the extensive narrative intrusions are bothersome to those who enjoy modern novels. Sinclair also desired to show life as he believed it really existed; therefore, his realistic fiction not only illustrates the real world, it attempts to capture the readers' attention by presenting characters who seemingly have genuine lives separate from the text. The narrator talks about what characters say, think, and do. Most contemporary novels are told from a particular character's point of view, allowing readers some internal insight, which is why many contemporary readers resist novels where a narrator "tells" what happens instead of "showing" the reader what happens. Other readers are bothered by Sinclair's use of the second person "you." For example, when he discusses the payment of the bar tab, he writes, "You might complain." Sinclair uses "you" in the plural, "you all" form, to connect the reader to both the character and the situation. In addition to shifting from the third to the second person point of view, Sinclair also shifts from past to present tense, and this technique disturbs the unity of time and place while confusing some readers. Most critics concur that the time shifting is a result of hasty writing rather than for any literary purpose. The problems the family faces at their reception in the New World mirror the problems they encounter in their new lives in America. The focal point of The Jungle is the plight of the immigrants. A major part of the problem is the excessive amount of graft and corruption in Packingtown. So many problems exist for the immigrants that the excitement of the wedding changes to trepidation about the next working day -- just as their excitement about the New World has changed from optimism to pessimism. Throughout The Jungle Sinclair explores how heredity, environment, and background all shape fate. The lower class is trapped by the very nature of capitalism. Sinclair contrasts Lithuania, where the characters were healthier and happier to where they are now, downtrodden and desperate in the slums of Chicago. The meaning of foreign words and phrases are revealed through context, providing a sense of authenticity while simultaneously making the immigrants sympathetic to readers. Sinclair needs to have sympathetic characters in order to demonstrate how capitalism destroys them and their families; by presenting capitalism as the problem, he is able to present socialism as the solution. His novel is filled with contrasts; for example, from the onset capitalism is dishonest, a direct contrast to the honest, hard workers. In the first chapter of The Jungle, only the slightest hints of Sinclair's agenda are present; however, the predators of capitalism are immediately exposed, as are their prey -- the working poor. Glossary personage a person of importance or distinction. veselija the Lithuanian wedding celebration which includes but is not limited to traditional foods, dances, and behaviors. viands food of various kinds; especially, choice dishes caper to skip or jump about in a playful manner. swain a young rustic lover. grandes dames women, especially older ones, of great dignity or prestige. quaff to drink deeply in a hearty or thirsty way. Faust the hero of several medieval legends and later literary and operatic works, a philosopher who sells his soul to the devil in exchange for knowledge and power; here, and in several places throughout The Jungle, Sinclair inserts literary allusions that are not compatible with the educational level of the character, a stylistic shortcoming. ponas Lithuanian word meaning master, gentleman. brass check refers to the style of time clock used during this period.

Around the turn of the twentieth century, Ona Lukoszaite and Jurgis Rudkus, two Lithuanian immigrants who have recently arrived in Chicago, are being married. They hold their veselija, or wedding feast, according to Lithuanian custom. The celebration takes place in a hall near the Chicago stockyards in an area of the city known as Packingtown because it is the center of the meat-packing industry. Food, beer, and music fill the hall. Following Lithuanian tradition, hungry people lingering in the doorway are invited inside to eat their fill. The musicians play badly but, amid the general festivity, no one seems to mind. The highlight of the celebration is the acziavimas: the guests, linking their hands, form a rotating circle while the musicians play; the bride stands in the middle and each male guest takes a turn dancing with her. After the dance, each male guest is expected to drop money into a hat, held by Teta Elzbieta, Ona's stepmother. Each gives according to his means, helping the newlyweds pay for the veselija, which can cost upward of three hundred dollars--more than a year's wages for many of the guests. Many unscrupulous guests take advantage of the families of the newlyweds at these celebrations, however, filling themselves with food and drink and leaving without contributing any money. Some leave with open contempt while others sneak away. Often, the saloon-keeper cheats families on the beer and liquor, claiming that the guests consumed more than they actually did. Often, they serve the worst swill they have after the families have bargained for a certain quality of alcohol at a fixed price. The immigrants quickly learn not to antagonize these barmen because they are often connected with powerful district politicians. The honest guests and friends of the newlyweds bear the greater burden of the cost owing to the predators who attend. Noticing that many people are leaving without paying, Ona becomes frightened and worried about the cost of the ceremony, but Jurgis promises that they will find some way to pay the bill. He vows that he will simply work harder and earn more money. The celebration is overshadowed by the knowledge that most of the men who are lucky enough to have jobs must report to work early in the morning. If a worker is one minute late, he loses an hour's pay; if he is twenty minutes late, he loses his job. Getting fired means waiting for hours in doorways for up to weeks at a time to obtain another job. In Packingtown, men, women, and children alike work grueling hours for the most paltry of wages

Chapters 1 and 2 Sinclair employs a spare, journalistic style that tries to convey an exacting realism, which had a precedent in American fiction in novelists such as Theodore Dreiser, who wrote about the social problems of industrialization, and Stephen Crane, who grimly portrayed the horrors of the Civil War in The Red Badge of Courage. But while these earlier authors' realism had a more literary pedigree, Sinclair's realism comes from journalism--muckraking journalism, which exposes misconduct on the part of an individual or business, in particular. Sinclair splatters the page with a surfeit of details that are intended not so much to create atmosphere as to drive home a message. The facts presented are never neutral or ambiguous. Sinclair's occasional use of the second person  heightens the reader's sense of experiencing the life that Sinclair describes in full, gritty detail. During the period of industrialization at the end of the nineteenth century and beginning of the twentieth, the millions of poor immigrants that flocked to the United States met with terrible working conditions and barely livable wages. Moreover, they encountered hostility and racism from the citizens of their new homeland. Their unfamiliar cultural practices were regarded as a threat to traditional American culture. To build a case for socialism, Sinclair had to persuade the American reading public to sympathize with the very people whom many regarded with suspicion and hostility. In the opening chapters, Sinclair endeavors to reduce the alien character of the Lithuanian immigrant family that occupies the center of his narrative by showing them in an extremely sympathetic setting--a wedding feast. Nevertheless, he doesn't pretend to portray them as entirely assimilated to American culture, since doing so would diminish their cultural heritage. Rather, of course, the wedding feast is held according to Lithuanian tradition. In this way, though the novel opens with the Lithuanian custom of the veselija, Sinclair emphasizes that the immigrants share a great many social values with the American reading public. The central values expressed in the veselija are family, community, and charity: according to custom, the community charitably shares in the expense of the celebration and donates money to help the new couple start out in life. The celebration is an expression of commitment to community and tradition as well as to the institution of marriage. Just as Sinclair wishes to inspire sympathy for the immigrant family by getting his readers to identify with their social values, so too does he attempt to sway opinion against the unwholesome social values that menace the immigrants. The young con artists and the corrupt saloonkeepers, who represent dishonesty and thievery, respectively, have assimilated the brutal, predatory values of consumer capitalism. They value their personal gain above the social values of family, community, and charity. Hence, Sinclair identifies capitalism as hostile to American moral values; in this way, the opening chapters of the novel immediately begin to build a case for socialism. Moreover, Jurgis and Ona's family immigrates to America in search of the American Dream, the advertisement by which America sells itself as the land of freedom and opportunity. This myth, represented in Chapter 2 by the character of Jokubas, promises them that hard work and commitment to social values will win them success. But Sinclair immediately begins to portray this dream of America as a naive fantasy: Jokubas is a struggling delicatessen operator, not a thriving capitalist. Furthermore, from the moment the immigrants arrive in the country they fall prey to various greedy individuals who profit unfairly from their ignorance. Sinclair means to depict these events as a betrayal of the very values upon which the American identity is based. Jurgis's response to the con artists taking advantage of the veselija is "I will work harder." Again, Sinclair wishes to identify the immigrant laborer with the values of the American reading public. Jurgis calmly faces adversity and expresses a profound belief in the ethic of work, a fundamental American value.