In which Esther gets a nose job
Next evening, prim and nervous-thighed in a rear seat of the crosstown bus, Esther divided her attention between the delinquent wilderness outside and a paperback copy of The Search for Bridey Murphy. This book had been written by a
The bus driver was of the normal or placid crosstown type; having fewer traffic lights and stops to cope with than the up-and-downtown drivers, he could afford to be genial. A portable radio hung by his steering wheel, tuned to WQXR. Tchaikovsky's Romeo and Juliet Overture flowed syrupy around him and his passengers. As the bus crossed
The bus entered the sudden waste country of
Suppose she were telepathic, and could tune in on what was going on out there. She preferred not to think about it. There would be power in telepathy, she thought, but much pain. And someone else might tap your own mind without your knowing. (Had Rachel been listening on the phone extension?)
She touched the tip of her new nose delicately, in secret: a mannerism she'd developed just recently. Not so much to point it out to whoever might be watching as to make sure it was still there. The bus came out of the park onto the safe, bright
What a brave girl I am, she trilled to herself, coming through so much night and lawlessness to visit My Lover.
She got off at
"You are early," he said.
"I am late," she answered. Already stepping out of her skirt.
Schoenmaker, being conservative, referred to his profession as the art of Tagliacozzi. His own methods, while not as primitive as those of the sixteenth-century Italian, were marked by a certain sentimental inertia, so that Schoenmaker was never quite up to date. He went out of his way to cultivate the Tagliacozzi look: showing his eyebrows thin and semicircular; wearing a bushy mustache, pointed beard, sometimes even a skullcap, his old schoolboy yarmulke.
He'd received his impetus - like the racket itself - from the World War. At seventeen, coeval with the century, he raised a mustache (which he never shaved off), falsified his age and name and wallowed off in a fetid troopship to fly, so he thought, high over the ruined chateaux and scarred fields of France, got up like an earless raccoon to scrimmage with the Hun; a brave Icarus.
Well, the kid never did get up in the air, but they made him a greasemonkey which was more than he'd expected anyway. It was enough. He got to know the guts not only of Breguets, Bristol Fighters and JN's, but also of the birdmen who did go up, and whom, of course, he adored. There was always a certain feudal-homosexual element in this division of labor. Schoenmaker felt like a page boy. Since those days as we know democracy has made its inroads and those crude flying-machines have evolved into "weapon systems" of a then undreamed-of complexity; so that the maintenance man today has to be as professional-noble as the flight crew he supports.
But then: it was a pure and abstract passion, directed for Schoenmaker, at least, toward the face. His own mustache may have been partly responsible; he was often mistaken for a pilot. On off hours, infrequently, he would sport a silk kerchief (obtained in Paris) at his throat, by way of imitation.
The war being what it was, certain of the faces - craggy or smooth, with slicked-down hair or bald - never came back. To this the young Schoenmaker responded with all adolescent love's flexibility: his free-floating affection sad and thwarted for a time till it managed to attach itself to a new face. But in each case, loss was as unspecified as the proposition "love dies." They flew off and were swallowed in the sky.
Until Evan Godolphin. A liaison officer in his middle thirties, TDY with the Americans for reconnaissance missions over the Argonne plateau, Godolphin carried the natural foppishness of the early aviators to extremes which in the time's hysterical context seemed perfectly normal. Here were no trenches, after all: the air up there was free of any taint of gas or comrades' decay. Combatants on both sides could afford to break champagne glasses in the majestic fireplaces of commandeered country seats; treat their captives with utmost courtesy, adhere to every point of the duello when it came to a dogfight; in short, practice with finicking care the entire rigmarole of nineteenth-century gentlemen of war. Evan Godolphin wore a Bond Street-tailored flying suit; would often, dashing clumsily across the scars of their makeshift airfield toward his French Spad, stop to pluck a lone poppy, survivor of strafing by autumn and the Germans (naturally aware of the Flanders Fields poem in Punch, three years ago when there'd still been an idealistic tinge to trench warfare), and insert it into one faultless lapel.
Godolphin became Schoenmaker's hero. Tokens tossed his way - an occasional salute, a "well done" for the preflights which came to be the boy-mechanic's responsibility, a tense smile - were hoarded fervently. Perhaps he saw an end also to this unrequited love; doesn't a latent sense of death always heighten the pleasure of such an "involvement"?
The end came soon enough. One rainy afternoon toward to end of the battle of Meuse-Argonne, Godolphin's crippled plane materialized suddenly out of all that gray, looped feebly, dipped on a wing toward the ground and slid like a kite in an air current toward the runway. It missed the runway by a hundred yards: by the time it impacted corpsmen and stretcher-bearers were already running out toward :t. Schoenmaker happened to be nearby and tagged along, having no idea what had happened till he saw the heap of rags and splinters, already soggy in the rain, and from it, limping toward the medics, the worst possible travesty of a human face lolling atop an animate corpse. The top of the nose had been shot away; shrapnel had torn out part of one cheek and shattered half the chin. The eyes, intact, showed nothing.
Schoenmaker must have lost himself. The next he could remember he was back at an aid station, trying to convince the doctors there to take his own cartilage. Godolphin would live, they'd decided. But his face would have to be rebuilt. life for the young officer would be, otherwise, unthinkable.
Now luckily for some a law of supply and demand had been at work in the field of plastic surgery. Godolphin's case, in 1918, was hardly unique. Methods had been in existence since the fifth century B.C. for rebuilding noses, Thiersch grafts had been around for forty or so years. During the war techniques were developed by necessity and were practiced by GP's, eye-ear-nose-and-throat men, even a hastily recruited gynecologist or two. The techniques that worked were adopted and passed on quickly to the younger medics. Those that failed produced a generation of freaks and pariahs who along with those who'd received no restorative surgery at all became a secret and horrible postwar fraternity. No good at all in any of the usual rungs of society, where did they go?
(Profane would see some of them under the street. Others you could meet at any rural crossroads in America. As Profane had: come to a new road, right-angles to his progress, smelled the Diesel exhaust of a truck long gone-like walking through a ghost - and seen there like a milestone one of them. Whose limp might mean a brocade or bas-relief of scar tissue down one leg - how many women had looked and shied?; whose cicatrix on the throat would be hidden modestly like a gaudy war decoration; whose tongue, protruding through a hole in the cheek, would never speak secret words with any extra mouth.)
Evan Godolphin proved to be one of them. The doctor was young, he had ideas of his own, which the AEF was no place for. His name was Halidom and he favored allografts: the introduction of inert substances into the living face. It was suspected at the time that the only safe transplants to use were cartilage or skin from the patient's own body. Schoenmaker, knowing nothing about Medicine, offered his cartilage but the gift was rejected; allografting was plausible and Halidom saw no reason for two men being hospitalized when only one had to be.
Thus Godolphin received a nose bridge of ivory, a cheekbone of silver and a paraffin and celluloid chin. A month later Schoenmaker went to visit him in the hospital - the last time he ever saw Godolphin. The reconstruction had been perfect. He was being sent back to London, in some obscure staff position, and spoke with a grim flippancy.
"Take a long look. It won't be good for more than six months." Schoenmaker stammered: Godolphin continued: "See him, down the way?" Two cots over lay what would have been a similar casualty except that the skin of the face was whole, shiny. But the skull beneath was misshapen. "Foreign-body reaction, they call it. Sometimes infection, inflammation, sometimes only pain. The paraffin, for instance, doesn't hold shape. Before you know it, you're back where you started." He talked like a man under death sentence. "Perhaps I can pawn my cheekbone. It's worth a fortune. Before they melted it down it was one of a set of pastoral figurines, eighteenth century - nymphs, shepherdesses - looted from a chateau the Hun was using for a CP; Lord knows where they're originally from -"
"Couldn't -" Schoenmaker's throat was dry - "couldn't they fix it, somehow: start over . . ."
"Too rushed. I'm lucky to get what I got. I can't complain. Think of the devils who haven't even six months to bash around in."
"What will you do when -"
"I'm not thinking of that. But it will be a grand six months."
The young mechanic stayed in a kind of emotional limbo for weeks. He worked without the usual slacking off, believing himself no more animate than the spanners and screwdrivers he handled. When there were passes to be had he gave his to someone else. He slept on an average of four hours a night. This mineral period ended by an accidental meeting with a medical officer one evening in the barracks. Schoenmaker put it as primitively as he felt:
"How can I become a doctor."
Of course it was idealistic and uncomplex. He wanted only to do something for men like Godolphin, to help prevent a takeover of the profession by its unnatural and traitorous Halidoms. It took ten years of working at his first specialty - mechanic - as well as navvy in a score of markets and warehouses, bill-collector, once administrative assistant to a bootlegging syndicate operating out of Decatur, Illinois. These years of labor were interlarded with night courses and occasional day enrollments, though none more than three semesters in a row (after Decatur, when he could afford it); internship; finally, on the eve of the Great Depression, entrance to the medical freemasonry.
If alignment with the inanimate is the mark of a Bad Guy, Schoenmaker at least made a sympathetic beginning. But at some point along his way there occurred a shift in outlook so subtle that even Profane, who was unusually sensitive that way, probably couldn't have detected it. He was kept going by hatred for Halidom and perhaps a fading love for Godolphin. These had given rise to what is called a "sense of mission" - something so tenuous it has to be fed more solid fare than either hatred or love. So it came to be sustained, plausibly enough, by a number of bloodless theories about the "idea" of the plastic surgeon. Having heard his vocation on the embattled wind, Schoenmaker's dedication was toward repairing the havoc wrought by agencies outside his own sphere of responsibility. Others - politicians and machines - carried on wars; others - perhaps human machines condemned his patients to the ravages of acquired syphilis others - on the highways, in the factories - undid the work of nature with automobiles, milling machines, other instruments of civilian disfigurement. What could he do toward eliminating the causes? They existed, formed a body of things-as-they-are; he came to be afflicted with a conservative laziness. It was social awareness of a sort, but with boundaries and interfaces which made it less than the catholic rage filling him that night in the barracks with the M.O. It was in short a deterioration of purpose; a decay.
Esther met him, oddly enough, through Stencil who at the time was only a newcomer to the Crew. Stencil, pursuing a different trail, happened for reasons of his own to be interested in Evan Godolphin's history. He'd followed it as far as Meuse-Argonne. Having finally got Schoenmaker's alias from the AEF records, it took Stencil months to trace him to Germantown and the Muzak-filled face hospital. The good doctor denied everything, after every variety of cajolement Stencil knew; it was another dead end.
As is usual after certain frustrations, we react with benevolence. Esther had been languishing ripe and hot-eyed about the Rusty Spoon, hating her figure-6 nose and proving as well as she could the unhappy undergraduate adage: "All the ugly ones fuck." The thwarted Stencil, casting about for somebody to take it all out on, glommed on to her despair hopefully - a taking which progressed to sad summer afternoons wandering among parched fountains, sunstruck shop fronts and streets bleeding tar, eventually to a father-daughter agreement casual enough to be cancelled at any time should either of them desire, no post-mortems necessary. It struck him with a fine irony that the nicest sentimental trinket for her would be an introduction to Schoenmaker; accordingly, in September, the contact was made and Esther without ado went under his knives and kneading fingers.
Collected for her in the anteroom that day were a rogues' gallery of malformed. A bald woman without ears contemplated the gold imp-clock, skin flush and shiny from temples to occiput. Beside her sat a younger girl, whose skull was fissured such that three separate peaks, paraboloid in shape, protruded above the hair, which continued down either side of a densely acned face like a skipper's beard. Across the room, studying a copy of the Reader's Digest, sat an aged gentleman in a moss-green gabardine suit, who possessed three nostrils, no upper lip and an assortment of different-sized teeth which leaned and crowded together like the headstones of a boneyard in tornado country. And off in a corner, looking at nothing, was a sexless being with hereditary syphilis, whose bones had acquired lesions and had partially collapsed so that the gray face's profile was nearly a straight line, the nose hanging down like a loose flap of skin, nearly covering the mouth; the chin depressed at the side by a large sunken crater containing radial skin-wrinkles; the eyes squeezed shut by the same unnatural gravity that flattened the rest of the profile. Esther, who was still at an impressionable age, identified with them all. It was confirmation of this alien feeling which had driven her to bed with so many of the Whole Sick Crew.
This first day Schoenmaker spent in pre-operative reconnaissance of the terrain: photographing Esther's face and nose from various angles, checking for upper respiratory infections, running a Wassermann. Irving and Trench also assisted him in making two duplicate casts or deathmasks. They gave her two paper straws to breathe through and in her childish way she thought of soda shops, cherry Cokes, True Confessions.
Next day she was back at the once. The two casts were thereon his desk, side by side. "I'm twins," she giggled. Schoenmaker reached out and snapped the plaster nose from one of the masks.
"Now," he smiled; producing like a magician a lump of modeling clay with which he replaced the broken-off nose. "What sort of nose did you have in mind?"
What else: Irish, she wanted, turned up. Like they all wanted. To none of them did it occur that the retrousse nose too is an aesthetic misfit: a Jew nose in reverse, is all. Few had ever asked for a so-called "perfect" nose, where the roof is straight, the tip untilted and unhooked, the columella (separating the nostrils) meeting the upper lip at 90 degrees. All of which went to support his private thesis that correction - along all dimensions: social, political, emotional - entails retreat to a diametric opposite rather than any reasonable search for a golden mean.
A few artistic finger-flourishes and wrist-twistings.
"Would that be it?" Eyes aglow, she nodded. "It has to harmonize with the rest of your face, you see." It didn't, of course. All that could harmonize with a face, if you were going to be humanistic about it, was obviously what the face was born with.
"But," he'd been able to rationalize years before, "there is harmony and harmony." So, Esther's nose. Identical with an ideal of nasal beauty established by movies, advertisements, magazine illustrations. Cultural harmony, Schoenmaker called it.
"Try next week then." He gave her the time. Esther was thrilled. It was like waiting to be born, and talking over with God, calm and Businesslike, exactly how you wanted to enter the world.
Next week she arrived, punctual: guts tight, skin sensitive. "Come." Schoenmaker took her gently by the hand. She felt passive, even (a little?) sexually aroused. She was seated in a dentist's chair, tilted back and prepared by Irving, who hovered about her like a handmaiden.
Esther's face was cleaned in the nasal region with green soap, iodine and alcohol. The hair inside her nostrils was clipped and the vestibules cleaned gently with antiseptics. She was then given Nembutal.
It was expected this would calm her down, but barbituric acid derivatives affect individuals differently. Perhaps her initial sexual arousal contributed; but by the time Esther was taken to the operating room she was near delirium. "Should have used Hyoscin," Trench said. "It gives them amnesia, man."
"Quiet, schlep," said the doctor, scrubbing. Irving set about arranging his armamentarium, while Trench strapped Esther to the operating table. Esther's eyes were wild; she sobbed quietly, obviously beginning to get second thoughts. "Too late now," Trench consoled her, grinning. "Lay quiet, hey."
All three wore surgical masks. The eyes looked suddenly malevolent to Esther. She tossed her head. "Trench, hold her head," came Schoenmaker's muffled voice, "and Irving can be the anaesthetist. You need practice, babe. Go get the Novocain bottle."
Sterile towels were placed under Esther's head and a drop of castor oil in each eye. Her face was again swabbed, this time with Metaphen and alcohol. Gauze packing was then jammed far up her nostrils to keep antiseptics and blood from flowing down her pharynx and throat.
Irving returned with the Novocain, a syringe, and a needle. First she put the anaesthetic into the tip of Esther's nose. one injection on each side. Next she made a number of injections radially around each nostril, to deaden the wings, or alae, her thumb going down on the plunger each time as the needle withdrew. "Switch to the big one," Schoenmaker said quietly. Irving fished a two-inch needle out of the autoclave. This time the needle was pushed, just under the skin, all the way up each side of the nose, from the nostril to where the nose joined forehead.
No one had told Esther that anything about the operation would hurt. But these injections hurt: nothing before in her experience had ever hurt quite so much. All she had free to move for the pain were her hips. Trench held her head and leered appreciatively as she squirmed, constrained, on the table.
Inside the nose again with another burden of anaesthetic, Irving's hypodermic was inserted between the upper and lower cartilage and pushed all the way up to the glabella - the bump between the eyebrows.
A series of internal injections to the septum - the wall of bone and cartilage which separates the two halves of the nose - and anaesthesia was complete. The sexual metaphor in all this wasn't lost on Trench, who kept chanting, "Stick it in . . . pull it out . . . stick it in . . ooh that was good . . . pull it out . . " and tittering softly above Esther's eyes. Irving would sigh each time, exasperated. "That boy," you expected her to say.
After a while Schoenmaker started pinching and twisting Esther's nose. "How does it feel? Hurt?" A whispered no: Schoenmaker twisted harder: "Hurt?" No. "Okay. Cover her eyes."
"Maybe she wants to look," Trench said.
"You want to look, Esther? See what we're going to do you?"
"I don't know." Her voice was weak, teetering between here and hysteria.
"Watch, then," said Schoenmaker. "Get an education. First we'll cut out the hump. Let's see a scalpel."
It was a routine operation; Schoenmaker worked quickly, neither he nor his nurse wasting any motion. Caressing sponge-strokes made it nearly bloodless. Occasionally a trickle would elude him and get halfway to the towels before caught it.
Schoenmaker first made two incisions, one on either side through the internal lining of the nose, near the septum at the lower border of the side cartilage. He then pushed a pair of long-handled, curved and pointed scissors through the nostril, up past the cartilage to the nasal bone. The scissors had been designed to cut both on opening and closing. Quickly, like a barber finishing up a high-tipping head, he separated the bone from the membrane and skin over it. "Undermining, we call this," he explained. He repeated the scissors work through the other nostril. "You see you have two nasal bones, they're separated by your septum. At the bottom they're each attached to a piece of lateral cartilage. I'm undermining you all the way from this attachment where the nasal bones join the forehead."
Irving passed him a chisel-like instrument. "MacKenty's elevator, this is." With the elevator he probed around, completing the undermining.
"Now," gently, like a lover, "I'm going to saw off your hump." Esther watched his eyes as best she could, looking for something human there. Never had she felt so helpless. Later she would say, "It was almost a mystic experience. What religion is it - one of the Eastern ones - where the highest condition we can attain is that of an object - a rock. It was like that; I felt myself drifting down, this delicious loss of Estherhood, becoming more and more a blob, with no worries. traumas, nothing: only Being . . ."
The mask with the clay nose lay on a small table nearby. Referring to it with quick side-glances, Schoenmaker inserted the saw blade through one of the incisions he'd made, and pushed it up to the bony part. Then lined it up with the line of the new nose-roof and carefully began to saw through the nasal bone on that side. "Bone saws easily," he remarked to Esther. "We're all really quite frail." The blade reached soft septum; Schoenmaker withdrew the blade. "Now comes the tricky part. I got to saw off the other side exactly the same. Otherwise your nose will be lopsided." He inserted the saw in the same way on the other side, studied the mask for what seemed to Esther a quarter of an hour; made several minute adjustments. Then finally sawed off the bone there in a straight line.
"Your hump is now two loose pieces of bone, attached only to the septum. We have to cut that through, flush with the other two cuts." This he did with an angle-bladed pull-knife, cutting down swiftly, completing the phase with some graceful sponge-flourishing.
"And now the hump floats inside the nose." He pulled hack one nostril with a retractor, inserted a pair of forceps and fished around for the hump. "Take that back," he smiled. "It doesn't want to come just yet." With scissors he snipped the hump loose from the lateral cartilage which had been holding it; then, with the bone-forceps, removed a dark-colored lump of gristle, which he waved triumphantly before Esther. "Twenty-two years of social unHappiness, nicht wahr? End of act one. We'll put it in formaldehyde, you can keep it for a souvenir if you wish." As he talked he smoothed the edges of the cuts with a small rasp file.
So much for the hump. But where the hump had been was now a flat area. The bridge of the nose had been too wide to begin with, and now had to be narrowed.
Again he undermined the nasal bones, this time around to where they met the cheekbones, and beyond. As he removed the scissors he inserted a right-angled saw in its place. "Your nasal bones are anchored firmly, you see; at the side to the cheekbone, at the top to the forehead. We must fracture them, so we can move your nose around. Just like that lump of clay."
He sawed through the nasal bones on each side, separating them from the cheekbones. He then took a chisel and inserted it through one nostril, pushing it as high as he could, until it touched bone.
"Let me know if you feel anything." He gave the chisel a few light taps with a mallet; stopped, puzzled, and then began to hammer harder. "It's a rough mother," he said, dropping his jocular tone. Tap, tap, tap. "Come on, you bastard." The chisel point edged its way, millimeter by millimeter, between Esther's eyebrows. "Scheisse!" With a loud snap, her nose was broken free of the forehead. By pushing in from either side with his thumbs, Schoenmaker completed the fracture.
"See? It's all wobbly now. That's act two. Now ve shorten das septum, ja."
With a scalpel he made an incision around the septum, between it and its two adjoining lateral cartilages. He then cut down around the front of the septum to the "spine," located just inside the nostrils at the back.
"Which should give you a free-floating septum. We use scissors to finish the job." With dissecting scissors he undermined the septum along its sides and up over the bones as far as the glabella, at the top of the nose.
He passed a scalpel next into one of the incisions just inside the nostril and out the other, and worked the cutting edge around until the septum was separated at the bottom. Then elevated one nostril with a retractor, reached in with Albs clamps and pulled out part of the loose septum. A quick transfer of calipers from mask to exposed septum; then with a pair of straight scissors Schoenmaker snipped off a triangular wedge of septum. "Now to put everything in place."
Keeping one eye on the mask, he brought together the nasal bones. This narrowed the bridge and eliminated the flat part where the hump had been cut off. He took some time making sure the two halves were lined up dead-center. The bones made a curious crackling sound as he moved them. "For your turned-up nose, we make two sutures."
The "seam" was between the recently-cut edge of the septum and the columella. With needle and needle-holder, two silk stitches were taken obliquely, through the entire widths of columella and septum.
The operation had taken, in all; less than an hour. They cleaned Esther up, removed the plain gauze packing and replaced it with sulfa ointment and more gauze. A strip of adhesive tape went on over her nostrils, another over the bridge of the new nose. On top of this went a Stent mold, a tin guard, and more adhesive plaster. Rubber tubes were put in each nostril so she could breathe.
Two days later the packing was removed. The adhesive plaster came off after five days. The sutures came out after seven. The uptilted end product looked ridiculous but Schoenmaker assured her it would come down a little after a few months. It did.
That would have been all: except for Esther. Possibly her old humpnosed habits had continued on by virtue of momentum. But never before had she been so passive with any male. Passivity having only one meaning for her, she left the hospital Schoenmaker had sent her to after a day and a night, and roamed the East Side in fugue, scaring people with her white beak and a certain shock about the eyes. She was sexually turned on, was all: as if Schoenmaker had located and flipped a secret switch or clitoris somewhere inside her nasal cavity. A cavity is a cavity, after all: Trench's gift for metaphor might have been contagious.
Returning the following week to have the stitches removed, she crossed and uncrossed her legs, batted eyelashes, talked soft: everything crude she knew. Schoenmaker had spotted her at the outset as an easy make.
"Come back tomorrow," he told her. Irving was off. Esther arrived the next day garbed underneath as lacily and with as many fetishes as she could afford. There might even have been a dab of Shalimar on the gauze in the center of her face.
In the back room: "How do you feel."
She laughed, too loud. "It hurts. But."
"Yes, but. There are ways to forget the pain."
She seemed unable to get rid of a silly, half-apologetic smile. It stretched her face, adding to the pain in her nose.
"Do you know what we're going to do? No, what I am going to do to you? Of course."
She let him undress her. He commented only on a black garter belt.
"Oh. Oh God." An attack of conscience: Slab had given it to her. With love, presumably.
"Stop. Stop the peep-show routine. You're not a virgin."
Another self-deprecating laugh. "That's just it. Another boy. Gave it to me. Boy that I loved."
She's in shock, he thought, vaguely surprised.
"Come. We'll make believe it's your operation. You enjoyed your operation, didn't you."
Through a crack in the curtains opposite Trench looked on. "Lie on the bed. That will be our operating table. You are to get an intermuscular injection."
"No," she cried.
"You have worked on many ways of saying no. No meaning yes. That no I don't like. Say it differently."
"No," with a little moan.
"No," this time a smile, eyelids at half-mast.
"You're getting better." Unknotting his tie, trousers in a puddle about his feet, Schoenmaker serenaded her.
Have I told you, fella She's got the sweetest columella And a septum that's swept 'em all on their ass; Each casual chondrectomy Meant only a big fat check to me Till I sawed this osteoclastible lass:
Till you've cut into Esther
You've cut nothing at all;
She's one of the best, Thir,
To her nose I'm in thrall.
She never acts nasty
But lies still as a rock;
She loves my rhinoplasty
But the others are schlock.
Esther is passive,
Her aplomb is massive,
How could any poor ass've
Ever passed her by?
And let me to you say
She puts Ireland to shame;
For her nose is retrousse
And Esther's her name . . .
For the last eight bars she chanted "no" on one and three.
Such was the (as it were) Jacobean etiology of Esther's eventual trip to Cuba; which see.