The Count and the Wedding Guest
by O. Henry
"There is this difference between the grief of youth and that of old age: youth's burden is lightened by as much of it as another shares; old age may give and give, but the sorrow remains the same." Can Andy "count" on Maggie to tell the truth?
One evening when Andy Donovan went to dinner at his Second Avenue boarding-house, Mrs. Scott introduced him to a new boarder, a young lady, Miss Conway. Miss Conway was small and unobtrusive. She wore a plain, snuffy-brown dress, and bestowed her interest, which seemed languid, upon her plate. She lifted her diffident eyelids and shot one perspicuous, judicial glance at Mr. Donovan, politely murmured his name, and returned to her mutton. Mr. Donovan bowed with the grace and beaming smile that were rapidly winning for him social, business and political advancement, and erased the snuffy-brown one from the tablets of his consideration.
Two weeks later Andy was sitting on the front steps enjoying his cigar. There was a soft rustle behind and above him, and Andy turned his head--and had his head turned.
Just coming out the door was Miss Conway. She wore a night-black dress of crepe de--crepe de--oh, this thin black goods. Her hat was black, and from it drooped and fluttered an ebon veil, filmy as a spider's web. She stood on the top step and drew on black silk gloves. Not a speck of white or a spot of color about her dress anywhere. Her rich golden hair was drawn, with scarcely a ripple, into a shining, smooth knot low on her neck. Her face was plain rather than pretty, but it was now illuminated and made almost beautiful by her large gray eyes that gazed above the houses across the street into the sky with an expression of the most appealing sadness and melancholy.
Gather the idea, girls--all black, you know, with the preference for crepe de--oh, crepe de Chine--that's it. All black, and that sad, faraway look, and the hair shining under the black veil (you have to be a blonde, of course), and try to look as if, although your young life had been blighted just as it was about to give a hop-skip-and-a-jump over the threshold of life, a walk in the park might do you good, and be sure to happen out the door at the right moment, and--oh, it'll fetch 'em every time. But it's fierce, now, how cynical I am, ain't it?--to talk about mourning costumes this way.
Mr. Donovan suddenly reinscribed Miss Conway upon the tablets of his consideration. He threw away the remaining inch-and-a-quarter of his cigar, that would have been good for eight minutes yet, and quickly shifted his center of gravity to his low cut patent leathers.
"It's a fine, clear evening, Miss Conway," he said; and if the Weather Bureau could have heard the confident emphasis of his tones it would have hoisted the square white signal, and nailed it to the mast.
"To them that has the heart to enjoy it, it is, Mr. Donovan," said Miss Conway, with a sigh.
Mr. Donovan, in his heart, cursed fair weather. Heartless weather! It should hail and blow and snow to be consonant with the mood of Miss Conway.
"I hope none of your relatives--I hope you haven't sustained a loss?" ventured Mr. Donovan.
"Death has claimed," said Miss Conway, hesitating--"not a relative, but one who--but I will not intrude my grief upon you, Mr. Donovan."
"Intrude?" protested Mr. Donovan. "Why, say, Miss Conway, I'd be delighted, that is, I'd be sorry--I mean I'm sure nobody could sympathize with you truer than I would."
Miss Conway smiled a little smile. And oh, it was sadder than her expression in repose.
"'Laugh, and the world laughs with you; weep, and they give you the laugh,'" she quoted. "I have learned that, Mr. Donovan. I have no friends or acquaintances in this city. But you have been kind to me. I appreciate it highly."
He had passed her the pepper twice at the table.
"It's tough to be alone in New York--that's a cinch," said Mr. Donovan. "But, say--whenever this little old town does loosen up and get friendly it goes the limit. Say you took a little stroll in the park, Miss Conway--don't you think it might chase away some of your mullygrubs? And if you'd allow me--"
"Thanks, Mr. Donovan. I'd be pleased to accept of your escort if you think the company of one whose heart is filled with gloom could be anyways agreeable to you."
Through the open gates of the iron-railed, old, downtown park, where the elect once took the air, they strolled, and found a quiet bench.
There is this difference between the grief of youth and that of old age: youth's burden is lightened by as much of it as another shares; old age may give and give, but the sorrow remains the same.
"He was my fiance," confided Miss Conway, at the end of an hour. "We were going to be married next spring. I don't want you to think that I am stringing you, Mr. Donovan, but he was a real Count. He had an estate and a castle in Italy. Count Fernando Mazzini was his name. I never saw the beat of him for elegance. Papa objected, of course, and once we eloped, but papa overtook us, and took us back. I thought sure papa and Fernando would fight a duel. Papa has a livery business--in P'kipsee, you know."
"Finally, papa came 'round, all right, and said we might be married next spring. Fernando showed him proofs of his title and wealth, and then went over to Italy to get the castle fixed up for us. Papa's very proud, and when Fernando wanted to give me several thousand dollars for my trousseau he called him down something awful. He wouldn't even let me take a ring or any presents from him. And when Fernando sailed I came to the city and got a position as cashier in a candy store."
"Three days ago I got a letter from Italy, forwarded from P'kipsee, saying that Fernando had been killed in a gondola accident."
"That is why I am in mourning. My heart, Mr. Donovan, will remain forever in his grave. I guess I am poor company, Mr. Donovan, but I cannot take any interest in no one. I should not care to keep you from gayety and your friends who can smile and entertain you. Perhaps you would prefer to walk back to the house?"
Now, girls, if you want to observe a young man hustle out after a pick and shovel, just tell him that your heart is in some other fellow's grave. Young men are grave-robbers by nature. Ask any widow. Something must be done to restore that missing organ to weeping angels in crepe de Chine. Dead men certainly get the worst of it from all sides.
"I'm awfully sorry," said Mr. Donovan, gently. "No, we won't walk back to the house just yet. And don't say you haven't no friends in this city, Miss Conway. I'm awful sorry, and I want you to believe I'm your friend, and that I'm awful sorry."
"I've got his picture here in my locket," said Miss Conway, after wiping her eyes with her handkerchief. "I never showed it to anybody; but I will to you, Mr. Donovan, because I believe you to be a true friend."
Mr. Donovan gazed long and with much interest at the photograph in the locket that Miss Conway opened for him. The face of Count Mazzini was one to command interest. It was a smooth, intelligent, bright, almost a handsome face--the face of a strong, cheerful man who might well be a leader among his fellows.
"I have a larger one, framed, in my room," said Miss Conway. "When we return I will show you that. They are all I have to remind me of Fernando. But he ever will be present in my heart, that's a sure thing."
A subtle task confronted Mr. Donovan,--that of supplanting the unfortunate Count in the heart of Miss Conway. This his admiration for her determined him to do. But the magnitude of the undertaking did not seem to weigh upon his spirits. The sympathetic but cheerful friend was the role he essayed; and he played it so successfully that the next half-hour found them conversing pensively across two plates of ice-cream, though yet there was no diminution of the sadness in Miss Conway's large gray eyes.
Before they parted in the hall that evening she ran upstairs and brought down the framed photograph wrapped lovingly in a white silk scarf. Mr. Donovan surveyed it with inscrutable eyes.
"He gave me this the night he left for Italy," said Miss Conway. "I had the one for the locket made from this."
"A fine-looking man," said Mr. Donovan, heartily. "How would it suit you, Miss Conway, to give me the pleasure of your company to Coney next Sunday afternoon?"
A month later they announced their engagement to Mrs. Scott and the other boarders. Miss Conway continued to wear black.
A week after the announcement the two sat on the same bench in the downtown park, while the fluttering leaves of the trees made a dim kinetoscopic picture of them in the moonlight. But Donovan had worn a look of abstracted gloom all day. He was so silent to-night that love's lips could not keep back any longer the questions that love's heart propounded.
"What's the matter, Andy, you are so solemn and grouchy to-night?"
"Nothing, Maggie."
"I know better. Can't I tell? You never acted this way before. What is it?"
"It's nothing much, Maggie."
"Yes it is; and I want to know. I'll bet it's some other girl you are thinking about. All right. Why don't you go get her if you want her? Take your arm away, if you please."
"I'll tell you then," said Andy, wisely, "but I guess you won't understand it exactly. You've heard of Mike Sullivan, haven't you? 'Big Mike' Sullivan, everybody calls him."
"No, I haven't," said Maggie. "And I don't want to, if he makes you act like this. Who is he?"
"He's the biggest man in New York," said Andy, almost reverently. "He can about do anything he wants to with Tammany or any other old thing in the political line. He's a mile high and as broad as East River. You say anything against Big Mike, and you'll have a million men on your collarbone in about two seconds. Why, he made a visit over to the old country awhile back, and the kings took to their holes like rabbits.
"Well, Big Mike's a friend of mine. I ain't more than deuce-high in the district as far as influence goes, but Mike's as good a friend to a little man, or a poor man as he is to a big one. I met him to-day on the Bowery, and what do you think he does? Comes up and shakes hands. 'Andy,' says he, 'I've been keeping cases on you. You've been putting in some good licks over on your side of the street, and I'm proud of you. What'll you take to drink?" He takes a cigar, and I take a highball. I told him I was going to get married in two weeks. 'Andy,' says he, 'send me an invitation, so I'll keep in mind of it, and I'll come to the wedding.' That's what Big Mike says to me; and he always does what he says.
"You don't understand it, Maggie, but I'd have one of my hands cut off to have Big Mike Sullivan at our wedding. It would be the proudest day of my life. When he goes to a man's wedding, there's a guy being married that's made for life. Now, that's why I'm maybe looking sore to-night."
"Why don't you invite him, then, if he's so much to the mustard?" said Maggie, lightly.
"There's a reason why I can't," said Andy, sadly. "There's a reason why he mustn't be there. Don't ask me what it is, for I can't tell you."
"Oh, I don't care," said Maggie. "It's something about politics, of course. But it's no reason why you can't smile at me."
"Maggie," said Andy, presently, "do you think as much of me as you did of your--as you did of the Count Mazzini?"
He waited a long time, but Maggie did not reply. And then, suddenly she leaned against his shoulder and began to cry--to cry and shake with sobs, holding his arm tightly, and wetting the crepe de Chine with tears.
"There, there, there!" soothed Andy, putting aside his own trouble. "And what is it, now?"
"Andy," sobbed Maggie. "I've lied to you, and you'll never marry me, or love me any more. But I feel that I've got to tell. Andy, there never was so much as the little finger of a count. I never had a beau in my life. But all the other girls had; and they talked about 'em; and that seemed to make the fellows like 'em more. And, Andy, I look swell in black--you know I do. So I went out to a photograph store and bought that picture, and had a little one made for my locket, and made up all that story about the Count, and about his being killed, so I could wear black. And nobody can love a liar, and you'll shake me, Andy, and I'll die for shame. Oh, there never was anybody I liked but you--and that's all."
But instead of being pushed away, she found Andy's arm folding her closer. She looked up and saw his face cleared and smiling.
"Could you--could you forgive me, Andy?"
"Sure," said Andy. "It's all right about that. Back to the cemetery for the Count. You've straightened everything out, Maggie. I was in hopes you would before the wedding-day. Bully girl!"
"Andy," said Maggie, with a somewhat shy smile, after she had been thoroughly assured of forgiveness, "did you believe all that story about the Count?"
"Well, not to any large extent," said Andy, reaching for his cigar case, "because it's Big Mike Sullivan's picture you've got in that locket of yours."
Frequently Asked Questions about The Count and the Wedding Guest
What is the plot summary of The Count and the Wedding Guest?
The Count and the Wedding Guest follows Andy Donovan, a boarder at a New York City boarding house, who becomes captivated by Miss Conway (Maggie) when she appears dressed in mourning black. She claims to be grieving her deceased fiancé, an Italian nobleman named Count Fernando Mazzini, who allegedly died in a gondola accident. Andy courts her, and they become engaged. However, Maggie eventually confesses that the Count never existed—she invented him because other girls’ stories about their beaus seemed to attract male attention. Andy forgives her, revealing he knew all along because the photograph she carried was actually of his powerful political friend, Big Mike Sullivan.
What are the main themes of The Count and the Wedding Guest?
The story explores several interconnected themes:
Deception and Honesty: Both Maggie and Andy harbor secrets. Maggie fabricates a dead fiancé, while Andy conceals that he recognizes the photograph. Their mutual deceptions ultimately lead to a deeper honesty.
Loneliness and Social Pressure: Maggie feels pressured to invent a romantic past because "all the other girls had" beaus. highlights how social expectations, particularly for women in early 1900s New York, drove people to create false identities.
Love and Acceptance: Despite the lies, genuine affection wins out. Andy’s forgiveness shows that authentic connection matters more than manufactured pasts.
What is the surprise ending of The Count and the Wedding Guest?
The story contains ’s signature twist ending with a double revelation. First, Maggie tearfully confesses that Count Mazzini never existed—she bought a stranger’s photograph and invented the entire story so she could wear black and attract male attention. Then comes the true surprise: Andy calmly reveals he never believed her story because the photograph in her locket is actually a picture of Big Mike Sullivan, his powerful Tammany Hall political friend. This means Andy knew the truth all along but courted Maggie anyway, proving his love was genuine from the start.
Who is Big Mike Sullivan in The Count and the Wedding Guest?
Big Mike Sullivan is a powerful Tammany Hall political boss in New York City whom Andy Donovan admires and considers a friend. Andy describes him as "the biggest man in New York" who can "do anything he wants to with Tammany or any other old thing in the political line." Sullivan plays a crucial role in the story’s twist: he has offered to attend Andy’s wedding, but Andy cannot invite him because the photograph Maggie carries as her "dead Count" is actually Sullivan’s picture. Sullivan’s importance to Andy creates the dramatic tension that ultimately forces Maggie’s confession.
What literary devices does O. Henry use in The Count and the Wedding Guest?
employs several key literary devices:
Dramatic Irony: The reader discovers at the end that Andy knew the truth all along, reframing every earlier scene in a new light.
Situational Irony: Maggie’s elaborate deception, designed to make herself more attractive, was unnecessary—Andy would have loved her regardless.
Direct Address: The narrator breaks the fourth wall to speak directly to "girls" in the audience, adding humor and a conspiratorial tone.
Contrast: Maggie’s initial appearance in a "plain, snuffy-brown dress" is sharply contrasted with her later dramatic appearance in all-black mourning attire.
Foreshadowing: Andy’s mysterious reluctance to invite Big Mike Sullivan to the wedding subtly hints at the connection between the photograph and Sullivan.
What is the significance of Maggie's mourning clothes in the story?
Maggie’s all-black mourning attire serves as the central symbol of the story. When she first appears in a "plain, snuffy-brown dress," Andy barely notices her. But dressed in black crêpe de Chine with a black veil over her golden hair, she becomes "almost beautiful" and immediately captures his attention. The mourning clothes represent the social performance women felt compelled to enact—Maggie literally costumes herself in a false identity to become desirable. ’s narrator even breaks the fourth wall to explain the technique to female readers, adding a layer of satirical commentary on courtship rituals of the era.
When was The Count and the Wedding Guest published?
The Count and the Wedding Guest was published in 1907 as part of ’s short story collection The Trimmed Lamp and Other Stories of the Four Million. This collection focuses on the lives of ordinary New Yorkers—working-class people, boarders, clerks, and shopgirls—capturing the humor, pathos, and surprises of everyday urban life in early twentieth-century Manhattan.
How does The Count and the Wedding Guest compare to other O. Henry stories?
The Count and the Wedding Guest shares ’s hallmark features: a surprise twist ending, sympathetic portrayals of everyday New Yorkers, and gentle humor about human foibles. It is thematically similar to The Gift of the Magi, where both parties make secret sacrifices based on incomplete information. Like The Cop and the Anthem, it explores the gap between appearance and reality in New York City life. The story’s focus on romantic deception also parallels The Romance of a Busy Broker and A Service of Love, where couples navigate misunderstandings rooted in love rather than malice.
What is the central message of The Count and the Wedding Guest?
The central message is that authentic love transcends deception. Maggie believes she needs a fabricated romantic history to be worthy of attention, and Andy pretends to believe her story to spare her feelings. Yet both deceptions stem from genuine affection rather than malice. suggests that people often create elaborate social masks out of insecurity, but real connection happens when those masks come off. Andy’s calm acceptance of Maggie’s confession—and his revelation that he saw through her all along—affirms that love based on understanding is stronger than love built on illusion.
What is the setting of The Count and the Wedding Guest?
The story is set in early 1900s New York City, specifically in the world of Second Avenue boarding houses and downtown parks. The characters inhabit a working-class milieu of clerks, cashiers, and political operatives. Key locations include Mrs. Scott’s boarding house, where Andy and Maggie meet over dinner; an "iron-railed, old, downtown park" where they stroll and share confidences; and Coney Island, mentioned as a Sunday outing destination. The setting reflects ’s beloved "Four Million"—ordinary New Yorkers whose lives are full of drama, humor, and unexpected twists.
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