The Project Gutenberg EBook of Balcony Stories, by Grace E. King
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: Balcony Stories
Author: Grace E. King
Release Date: March 8, 2004 [EBook #11514]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK BALCONY STORIES ***
Produced by Jonathan Ingram, Bradley Norton and the Online Distributed
Proofreading Team.
BALCONY STORIES
BY
GRACE KING
1892
CONTENTS
THE BALCONY
A DRAMA OF THREE
LA GRANDE DEMOISELLE
MIMI'S MARRIAGE
THE MIRACLE CHAPEL
THE STORY OF A DAY
ANNE MARIE AND JEANNE MARIE
A CRIPPLED HOPE
"ONE OF US"
THE LITTLE CONVENT GIRL
GRANDMOTHER'S GRANDMOTHER
THE OLD LADY'S RESTORATION
A DELICATE AFFAIR
PUPASSE
LIST OF ILLUSTRATIONS
"WALKING AWAY WITH A SHRUG OF THE SHOULDERS"
"WHERE IS THAT IDIOT, THAT DOLT, THAT SLUGGARD, THAT SNAIL, WITH MY
MAIL?"
CHAMPIGNY
"I WEPT, I WEPT, I WEPT"
"HER HEART DROVE HER TO THE WINDOW"
"ALL THAT DAY WAS DESPONDENCY, DEJECTION"
"THIS TIME WE HAVE CAUGHT IT!"
"THE QUIET, DIM-LIGHTED ROOM OF A CONVALESCENT"
"LITTLE MAMMY"
"TO POSE IN ABJECT PATIENCE AND AWKWARDNESS"
THE SISTERS BID HER GOOD-BY
WATCHING A LANDING
"TURNED TO HER DOMESTIC DUTIES"
THE ROOM IN THE OLD GALLERY
THE FIRST COMMUNION
BALCONY STORIES
THE BALCONY
There is much of life passed on the balcony in a country where the
summer unrolls in six moon-lengths, and where the nights have to come
with a double endowment of vastness and splendor to compensate for the
tedious, sun-parched days.
And in that country the women love to sit and talk together of summer
nights, on balconies, in their vague, loose, white garments,--men
are not balcony sitters,--with their sleeping children within easy
hearing, the stars breaking the cool darkness, or the moon making a
show of light--oh, such a discreet show of light!--through the vines.
And the children inside, waking to go from one sleep into another,
hear the low, soft mother-voices on the balcony, talking about this
person and that, old times, old friends, old experiences; and it seems
to them, hovering a moment in wakefulness, that there is no end of the
world or time, or of the mother-knowledge; but, illimitable as it
is, the mother-voices and the mother-love and protection fill it
all,--with their mother's hand in theirs, children are not afraid even
of God,--and they drift into slumber again, their little dreams
taking all kinds of pretty reflections from the great unknown horizon
outside, as their fragile soap-bubbles take on reflections from the
sun and clouds.
Experiences, reminiscences, episodes, picked up as only women know how
to pick them up from other women's lives,--or other women's destinies,
as they prefer to call them,--and told as only women know how to
relate them; what God has done or is doing with some other woman whom
they have known--that is what interests women once embarked on their
own lives,--the embarkation takes place at marriage, or after the
marriageable time,--or, rather, that is what interests the women who
sit of summer nights on balconies. For in those long-moon countries
life is open and accessible, and romances seem to be furnished real
and gratis, in order to save, in a languor-breeding climate, the
ennui of reading and writing books. Each woman has a different way of
picking up and relating her stories, as each one selects different
pieces, and has a personal way of playing them on the piano.
Each story _is_ different, or appears so to her; each has some unique
and peculiar pathos in it. And so she dramatizes and inflects it,
trying to make the point visible to her apparent also to her hearers.
Sometimes the pathos and interest to the hearers lie only in
this--that the relater has observed it, and gathered it, and finds it
worth telling. For do we not gather what we have not, and is not our
own lacking our one motive? It may be so, for it often appears so.
And if a child inside be wakeful and precocious it is not dreams
alone that take on reflections from the balcony outside: through the
half-open shutters the still, quiet eyes look across the dim forms
on the balcony to the star-spangled or the moon-brightened heavens
beyond; while memory makes stores for the future, and germs are sown,
out of which the slow, clambering vine of thought issues, one day, to
decorate or hide, as it may be, the structures or ruins of life.
A DRAMA OF THREE
It was a regular dramatic performance every first of the month in the
little cottage of the old General and Madame B----.
It began with the waking up of the General by his wife, standing at
the bedside with a cup of black coffee.
"Hé! Ah! Oh, Honorine! Yes; the first of the month, and
affairs--affairs to be transacted."
On those mornings when affairs were to be transacted there was not
much leisure for the household; and it was Honorine who constituted
the household. Not the old dressing-gown and slippers, the old, old
trousers, and the antediluvian neck-foulard of other days! Far from
it. It was a case of warm water (with even a fling of cologne in it),
of the trimming of beard and mustache by Honorine, and the black
broadcloth suit, and the brown satin stock, and that _je ne sais quoi
de dégagé_ which no one could possess or assume like the old General.
Whether he possessed or assumed it is an uncertainty which hung over
the fine manners of all the gentlemen of his day, who were kept
through their youth in Paris to cultivate _bon ton_ and an education.
It was also something of a gala-day for Madame la Générale too, as it
must be a gala-day for all old wives to see their husbands pranked
in the manners and graces that had conquered their maidenhood, and
exhaling once more that ambrosial fragrance which once so well
incensed their compelling presence.
Ah, to the end a woman loves to celebrate her conquest! It is the last
touch of misfortune with her to lose in the old, the ugly, and the
commonplace her youthful lord and master. If one could look under the
gray hairs and wrinkles with which time thatches old women, one would
be surprised to see the flutterings, the quiverings, the thrills, the
emotions, the coals of the heart-fires which death alone extinguishes,
when he commands the tenant to vacate.
Honorine's hands chilled with the ice of sixteen as she approached
scissors to the white mustache and beard. When her finger-tips brushed
those lips, still well formed and roseate, she felt it, strange to
say, on her lips. When she asperged the warm water with cologne,--it
was her secret delight and greatest effort of economy to buy this
cologne,--she always had one little moment of what she called
faintness--that faintness which had veiled her eyes, and chained her
hands, and stilled her throbbing bosom, when as a bride she came from
the church with him. It was then she noticed the faint fragrance of
the cologne bath. Her lips would open as they did then, and she would
stand for a moment and think thoughts to which, it must be confessed,
she looked forward from month to month. What a man he had been! In
truth he belonged to a period that would accept nothing less from
Nature than physical beauty; and Nature is ever subservient to the
period. If it is to-day all small men, and to-morrow gnomes and
dwarfs, we may know that the period is demanding them from Nature.
When the General had completed--let it be called no less than the
ceremony of--his toilet, he took his chocolate and his _pain de
Paris_. Honorine could not imagine him breakfasting on anything but
_pain de Paris._ Then he sat himself in his large arm-chair before his
escritoire, and began transacting his affairs with the usual--
"But where is that idiot, that dolt, that sluggard, that snail, with
my mail?" Honorine, busy in the breakfast-room:
[Illustration: "WHERE IS THAT IDIOT, THAT DOLT, THAT SLUGGARD, THAT
SNAIL, WITH MY MAIL?"]
"In a moment, husband. In a moment."
"But he should be here now. It is the first of the month, it is nine
o'clock, I am ready; he should be here."
"It is not yet nine o'clock, husband."
"Not yet nine! Not yet nine! Am I not up? Am I not dressed? Have I not
breakfasted before nine?"
"That is so, husband. That is so." Honorine's voice, prompt in
cheerful acquiescence, came from the next room, where she was washing
his cup, saucer, and spoon.
"It is getting worse and worse every day. I tell you, Honorine, Pompey
must be discharged. He is worthless. He is trifling. Discharge him!
Discharge him! Do not have him about! Chase him out of the yard! Chase
him as soon as he makes his appearance! Do you hear, Honorine?"
"You must have a little patience, husband."
It was perhaps the only reproach one could make to Madame Honorine,
that she never learned by experience.
"Patience! Patience! Patience is the invention of dullards and
sluggards. In a well-regulated world there should be no need of such a
thing as patience. Patience should be punished as a crime, or at
least as a breach of the peace. Wherever patience is found police
investigation should be made as for smallpox. Patience! Patience! I
never heard the word--I assure you, I never heard the word in Paris.
What do you think would be said there to the messenger who craved
patience of you? Oh, they know too well in Paris--a rataplan from the
walking-stick on his back, that would be the answer; and a, 'My good
fellow, we are not hiring professors of patience, but legs.'"
"But, husband, you must remember we do not hire Pompey. He only does
it to oblige us, out of his kindness."
"Oblige us! Oblige me! Kindness! A negro oblige me! Kind to me! That
is it; that is it. That is the way to talk under the new régime. It is
favor, and oblige, and education, and monsieur, and madame, now. What
child's play to call this a country--a government! I would not be
surprised"--jumping to his next position on this ever-recurring first
of the month theme--"I would not be surprised if Pompey has failed to
find the letter in the box. How do I know that the mail has not
been tampered with? From day to day I expect to hear it. What is to
prevent? Who is to interpose? The honesty of the officials? Honesty of
the officials--that is good! What a farce--honesty of officials! That
is evidently what has happened. The thought has not occurred to me in
vain. Pompey has gone. He has not found the letter, and--well; that is
the end."
But the General had still another theory to account for the delay in
the appearance of his mail which he always posed abruptly after the
exhaustion of the arraignment of the post-office.
"And why not Journel?" Journel was their landlord, a fellow of means,
but no extraction, and a favorite aversion of the old gentleman's.
"Journel himself? You think he is above it, _hé_? You think Journel
would not do such a thing? Ha! your simplicity, Honorine--your
simplicity is incredible. It is miraculous. I tell you, I have known
the Journels, from father to son, for--yes, for seventy-five years.
Was not his grandfather the overseer on my father's plantation? I was
not five years old when I began to know the Journels. And this fellow,
I know him better than he knows himself. I know him as well as God
knows him. I have made up my mind. I have made it up carefully that
the first time that letter fails on the first of the month I
shall have Journel arrested as a thief. I shall land him in the
penitentiary. What! You think I shall submit to have my mail tampered
with by a Journel? Their contents appropriated? What! You think there
was no coincidence in Journel's offering me his post-office box just
the month--just the month, before those letters began to arrive? You
think he did not have some inkling of them? Mark my words, Honorine,
he did--by some of his subterranean methods. And all these five years
he has been arranging his plans--that is all. He was arranging theft,
which no doubt has been consummated to-day. Oh, I have regretted it--I
assure you I have regretted it, that I did not promptly reject his
proposition, that, in fact, I ever had anything to do with the
fellow."
It was almost invariably, so regularly do events run in this
world,--it was almost invariably that the negro messenger made his
appearance at this point. For five years the General had perhaps
not been interrupted as many times, either above or below the last
sentence. The mail, or rather the letter, was opened, and the usual
amount--three ten-dollar bills--was carefully extracted and counted.
And as if he scented the bills, even as the General said he did,
within ten minutes after their delivery, Journel made his appearance
to collect the rent.
It could only have been in Paris, among that old retired nobility, who
counted their names back, as they expressed it, "au de çà du déluge,"
that could have been acquired the proper manner of treating a
"roturier" landlord: to measure him with the eyes from head to foot;
to hand the rent--the ten-dollar bill--with the tips of the fingers;
to scorn a look at the humbly tendered receipt; to say: "The cistern
needs repairing, the roof leaks; I must warn you that unless such
notifications meet with more prompt attention than in the past,
you must look for another tenant," etc., in the monotonous tone of
supremacy, and in the French, not of Journel's dictionary, nor of
the dictionary of any such as he, but in the French of Racine and
Corneille; in the French of the above suggested circle, which inclosed
the General's memory, if it had not inclosed--as he never tired of
recounting--his star-like personality.
A sheet of paper always infolded the bank-notes. It always bore, in
fine but sexless tracery, "From one who owes you much."
There, that was it, that sentence, which, like a locomotive, bore the
General and his wife far on these firsts of the month to two opposite
points of the horizon, in fact, one from the other--"From one who owes
you much."
The old gentleman would toss the paper aside with the bill receipt.
In the man to whom the bright New Orleans itself almost owed its
brightness, it was a paltry act to search and pick for a debtor.
Friends had betrayed and deserted him; relatives had forgotten him;
merchants had failed with his money; bank presidents had stooped to
deceive him; for he was an old man, and had about run the gamut of
human disappointments--a gamut that had begun with a C major of trust,
hope, happiness, and money.
His political party had thrown him aside. Neither for ambassador,
plenipotentiary, senator, congressman, not even for a clerkship, could
he be nominated by it. Certes! "From one who owed him much." He had
fitted the cap to a new head, the first of every month, for five
years, and still the list was not exhausted. Indeed, it would have
been hard for the General to look anywhere and not see some one whose
obligations to him far exceeded this thirty dollars a month. Could he
avoid being happy with such eyes?
But poor Madame Honorine! She who always gathered up the receipts, and
the "From one who owes you much"; who could at an instant's warning
produce the particular ones for any month of the past half-decade.
She kept them filed, not only in her armoire, but the scrawled
papers--skewered, as it were, somewhere else--where women from time
immemorial have skewered such unsigned papers. She was not original in
her thoughts--no more, for the matter of that, than the General was.
Tapped at any time on the first of the month, when she would pause
in her drudgery to reimpale her heart by a sight of the written
characters on the scrap of paper, her thoughts would have been found
flowing thus, "One can give everything, and yet be sure of nothing."
When Madame Honorine said "everything," she did not, as women in such
cases often do, exaggerate. When she married the General, she in
reality gave the youth of sixteen, the beauty (ah, do not trust the
denial of those wrinkles, the thin hair, the faded eyes!) of an angel,
the dot of an heiress. Alas! It was too little at the time. Had she in
her own person united all the youth, all the beauty, all the wealth,
sprinkled parsimoniously so far and wide over all the women in this
land, would she at that time have done aught else with this than
immolate it on the burning pyre of the General's affection? "And yet
be sure of nothing."
It is not necessary, perhaps, to explain that last clause. It is very
little consolation for wives that their husbands have forgotten, when
some one else remembers. Some one else! Ah! there could be so many
some one Else's in the General's life, for in truth he had been
irresistible to excess. But this was one particular some one else who
had been faithful for five years. Which one?
When Madame Honorine solves that enigma she has made up her mind how
to act.
As for Journel, it amused him more and more. He would go away from the
little cottage rubbing his hands with pleasure (he never saw Madame
Honorine, by the way, only the General). He would have given far more
than thirty dollars a month for this drama; for he was not only rich,
but a great _farceur_.
LA GRANDE DEMOISELLE
That was what she was called by everybody as soon as she was seen or
described. Her name, besides baptismal titles, was Idalie Sainte Foy
Mortemart des Islets. When she came into society, in the brilliant
little world of New Orleans, it was the event of the season, and after
she came in, whatever she did became also events. Whether she went, or
did not go; what she said, or did not say; what she wore, and did not
wear--all these became important matters of discussion, quoted as much
or more than what the president said, or the governor thought. And
in those days, the days of '59, New Orleans was not, as it is now, a
one-heiress place, but it may be said that one could find heiresses
then as one finds type-writing girls now.
Mademoiselle Idalie received her birth, and what education she had, on
her parents' plantation, the famed old Reine Sainte Foy place, and
it is no secret that, like the ancient kings of France, her birth
exceeded her education.
It was a plantation, the Reine Sainte Foy, the richness and luxury of
which are really well described in those fervid pictures of tropical
life, at one time the passion of philanthropic imaginations, excited
and exciting over the horrors of slavery. Although these pictures were
then often accused of being purposely exaggerated, they seem now to
fall short of, instead of surpassing, the truth. Stately walls, acres
of roses, miles of oranges, unmeasured fields of cane, colossal
sugar-house--they were all there, and all the rest of it, with the
slaves, slaves, slaves everywhere, whole villages of negro cabins. And
there were also, most noticeable to the natural, as well as to
the visionary, eye--there were the ease, idleness, extravagance,
self-indulgence, pomp, pride, arrogance, in short the whole
enumeration, the moral _sine qua non_, as some people considered it,
of the wealthy slaveholder of aristocratic descent and tastes.
What Mademoiselle Idalie cared to learn she studied, what she did not
she ignored; and she followed the same simple rule untrammeled in her
eating, drinking, dressing, and comportment generally; and whatever
discipline may have been exercised on the place, either in fact or
fiction, most assuredly none of it, even so much as in a threat,
ever attended her sacred person. When she was just turned sixteen,
Mademoiselle Idalie made up her mind to go into society. Whether she
was beautiful or not, it is hard to say. It is almost impossible
to appreciate properly the beauty of the rich, the very rich. The
unfettered development, the limitless choice of accessories, the
confidence, the self-esteem, the sureness of expression, the
simplicity of purpose, the ease of execution--all these produce a
certain effect of beauty behind which one really cannot get to measure
length of nose, or brilliancy of eye. This much can be said: there was
nothing in her that positively contradicted any assumption of beauty
on her part, or credit of it on the part of others. She was very tall
and very thin with small head, long neck, black eyes, and abundant
straight black hair,--for which her hair-dresser deserved more praise
than she,--good teeth, of course, and a mouth that, even in prayer,
talked nothing but commands; that is about all she had _en fait
d'ornements_, as the modesties say. It may be added that she walked as
if the Reine Sainte Foy plantation extended over the whole earth, and
the soil of it were too vile for her tread. Of course she did not buy
her toilets in New Orleans. Everything was ordered from Paris, and
came as regularly through the custom-house as the modes and robes to
the milliners. She was furnished by a certain house there, just as one
of a royal family would be at the present day. As this had lasted from
her layette up to her sixteenth year, it may be imagined what took
place when she determined to make her début. Then it was literally,
not metaphorically, _carte blanche_, at least so it got to the ears of
society. She took a sheet of note-paper, wrote the date at the top,
added, "I make my début in November," signed her name at the extreme
end of the sheet, addressed it to her dressmaker in Paris, and sent
it.
It was said that in her dresses the very handsomest silks were
used for linings, and that real lace was used where others put
imitation,--around the bottoms of the skirts, for instance,--and silk
ribbons of the best quality served the purposes of ordinary tapes; and
sometimes the buttons were of real gold and silver, sometimes set
with precious stones. Not that she ordered these particulars, but the
dressmakers, when given _carte blanche_ by those who do not condescend
to details, so soon exhaust the outside limits of garments that
perforce they take to plastering them inside with gold, so to speak,
and, when the bill goes in, they depend upon the furnishings to carry
out a certain amount of the contract in justifying the price. And it
was said that these costly dresses, after being worn once or twice,
were cast aside, thrown upon the floor, given to the negroes--anything
to get them out of sight. Not an inch of the real lace, not one of the
jeweled buttons, not a scrap of ribbon, was ripped off to save. And it
was said that if she wanted to romp with her dogs in all her finery,
she did it; she was known to have ridden horseback, one moonlight
night, all around the plantation in a white silk dinner-dress flounced
with Alençon. And at night, when she came from the balls, tired, tired
to death as only balls can render one, she would throw herself down
upon her bed in her tulle skirts,--on top, or not, of the exquisite
flowers, she did not care,--and make her maid undress her in that
position; often having her bodices cut off her, because she was too
tired to turn over and have them unlaced.
That she was admired, raved about, loved even, goes without saying.
After the first month she held the refusal of half the beaux of New
Orleans. Men did absurd, undignified, preposterous things for her; and
she? Love? Marry? The idea never occurred to her. She treated the
most exquisite of her pretenders no better than she treated her Paris
gowns, for the matter of that. She could not even bring herself to
listen to a proposal patiently; whistling to her dogs, in the middle
of the most ardent protestations, or jumping up and walking away with
a shrug of the shoulders, and a "Bah!"
[Illustration: "WALKING AWAY WITH A SHRUG OF THE SHOULDERS."]
Well! Every one knows what happened after '59. There is no need to
repeat. The history of one is the history of all. But there was this
difference--for there is every shade of difference in misfortune, as
there is every shade of resemblance in happiness. Mortemart des Islets
went off to fight. That was natural; his family had been doing that,
he thought, or said, ever since Charlemagne. Just as naturally he was
killed in the first engagement. They, his family, were always
among the first killed; so much so that it began to be considered
assassination to fight a duel with any of them. All that was in the
ordinary course of events. One difference in their misfortunes lay
in that after the city was captured, their plantation, so near,
convenient, and rich in all kinds of provisions, was selected to
receive a contingent of troops--a colored company. If it had been a
colored company raised in Louisiana it might have been different; and
these negroes mixed with the negroes in the neighborhood,--and negroes
are no better than whites, for the proportion of good and bad among
them,--and the officers were always off duty when they should have
been on, and on when they should have been off.
One night the dwelling caught fire. There was an immediate rush to
save the ladies. Oh, there was no hesitation about that! They were
seized in their beds, and carried out in the very arms of their
enemies; carried away off to the sugar-house, and deposited there. No
danger of their doing anything but keep very quiet and still in their
_chemises de nuit_, and their one sheet apiece, which was about all
that was saved from the conflagration--that is, for them. But it must
be remembered that this is all hearsay. When one has not been present,
one knows nothing of one's own knowledge; one can only repeat. It has
been repeated, however, that although the house was burned to
the ground, and everything in it destroyed, wherever, for a year
afterward, a man of that company or of that neighborhood was found,
there could have been found also, without search-warrant, property
that had belonged to the Des Islets. That is the story; and it is
believed or not, exactly according to prejudice.
How the ladies ever got out of the sugar-house, history does not
relate; nor what they did. It was not a time for sociability, either
personal or epistolary. At one offensive word your letter, and you,
very likely, examined; and Ship Island for a hotel, with soldiers for
hostesses! Madame Des Islets died very soon after the accident--of
rage, they say; and that was about all the public knew.
Indeed, at that time the society of New Orleans had other things
to think about than the fate of the Des Islets. As for _la grande
demoiselle_, she had prepared for her own oblivion in the hearts of
her female friends. And the gentlemen,--her _preux chevaliers_,--they
were burning with other passions than those which had driven them to
her knees, encountering a little more serious response than "bahs" and
shrugs. And, after all, a woman seems the quickest thing forgotten
when once the important affairs of life come to men for consideration.
It might have been ten years according to some calculations, or ten
eternities,--the heart and the almanac never agree about time,--but
one morning old Champigny (they used to call him Champignon) was
walking along his levee front, calculating how soon the water would
come over, and drown him out, as the Louisianians say. It was before a
seven-o'clock breakfast, cold, wet, rainy, and discouraging. The road
was knee-deep in mud, and so broken up with hauling, that it was like
walking upon waves to get over it. A shower poured down. Old Champigny
was hurrying in when he saw a figure approaching. He had to stop to
look at it, for it was worth while. The head was hidden by a green
barege veil, which the showers had plentifully besprinkled with dew; a
tall, thin figure. Figure! No; not even could it be called a figure:
straight up and down, like a finger or a post; high-shouldered, and
a step--a step like a plow-man's. No umbrella; no--nothing more, in
fact. It does not sound so peculiar as when first related--something
must be forgotten. The feet--oh, yes, the feet--they were like
waffle-irons, or frying-pans, or anything of that shape.
Old Champigny did not care for women--he never had; they simply did
not exist for him in the order of nature. He had been married once,
it is true, about a half century before; but that was not reckoned
against the existence of his prejudice, because he was _célibataire_
to his finger-tips, as any one could see a mile away. But that woman
_intrigué'd_ him.
He had no servant to inquire from. He performed all of his own
domestic work in the wretched little cabin that replaced his old home.
For Champigny also belonged to the great majority of the _nouveaux
pauvres_. He went out into the rice-field, where were one or two
hands that worked on shares with him, and he asked them. They knew
immediately; there is nothing connected with the parish that a
field-hand does not know at once. She was the teacher of the colored
public school some three or four miles away. "Ah," thought Champigny,
"some Northern lady on a mission." He watched to see her return in the
evening, which she did, of course; in a blinding rain. Imagine the
green barege veil then; for it remained always down over her face.
[Illustration: CHAMPIGNY.]
Old Champigny could not get over it that he had never seen her before.
But he must have seen her, and, with his abstraction and old age, not
have noticed her, for he found out from the negroes that she had been
teaching four or five years there. And he found out also--how, is not
important--that she was Idalie Sainte Foy Mortemart des Islets. _La
grande demoiselle_! He had never known her in the old days, owing to
his uncomplimentary attitude toward women, but he knew of her,
of course, and of her family. It should have been said that his
plantation was about fifty miles higher up the river, and on the
opposite bank to Reine Sainte Foy. It seemed terrible. The old
gentleman had had reverses of his own, which would bear the telling,
but nothing was more shocking to him than this--that Idalie Sainte
Foy Mortemart des Islets should be teaching a public colored school
for--it makes one blush to name it--seven dollars and a half a month.
For seven dollars and a half a month to teach a set of--well! He found
out where she lived, a little cabin--not so much worse than his own,
for that matter--in the corner of a field; no companion, no servant,
nothing but food and shelter. Her clothes have been described.
Only the good God himself knows what passed in Champigny's mind on
the subject. We know only the results. He went and married _la grande
demoiselle_. How? Only the good God knows that too. Every first of the
month, when he goes to the city to buy provisions, he takes her with
him--in fact, he takes her everywhere with him.
Passengers on the railroad know them well, and they always have a
chance to see her face. When she passes her old plantation _la grande
demoiselle_ always lifts her veil for one instant--the inevitable
green barege veil. What a face! Thin, long, sallow, petrified! And the
neck! If she would only tie something around the neck! And her plain,
coarse cottonade gown! The negro women about her were better dressed
than she.
Poor old Champignon! It was not an act of charity to himself, no
doubt cross and disagreeable, besides being ugly. And as for love,
gratitude!
MIMI'S MARRIAGE
This how she told about it, sitting in her little room,--her bridal
chamber,--not larger, really not larger than sufficed for the bed
there, the armoire here, the bureau opposite, and the washstand behind
the door, the corners all touching. But a nice set of furniture, quite
_comme il faut_,--handsome, in fact,--as a bride of good family should
have. And she was dressed very prettily, too, in her long white
_negligée_, with plenty of lace and ruffles and blue ribbons,--such as
only the Creole girls can make, and brides, alas! wear,--the pretty
honeymoon costume that suggests, that suggests--well! to proceed. "The
poor little cat!" as one could not help calling her, so _mignonne_,
so blond, with the pretty black eyes, and the rosebud of a
mouth,--whenever she closed it,--a perfect kiss.
"But you know, Louise," she said, beginning quite seriously at the
beginning, "papa would never have consented, never, never--poor papa!
Indeed, I should never have asked him; it would only have been one
humiliation more for him, poor papa! So it was well he was dead, if
it was God's will for it to be. Of course I had my dreams, like
everybody. I was so blond, so blond, and so small; it seemed like a
law I should marry a _brun_, a tall, handsome _brun_, with a mustache
and a fine barytone voice. That was how I always arranged it, and--you
will laugh--but a large, large house, and numbers of servants, and a
good cook, but a superlatively good cuisine, and wine and all that,
and long, trailing silk dresses, and theater every night, and voyages
to Europe, and--well, everything God had to give, in fact. You know, I
get that from papa, wanting everything God has to give! Poor papa! It
seemed to me I was to meet him at any time, my handsome _brun_. I used
to look for him positively on my way to school, and back home again,
and whenever I would think of him I would try and walk so prettily,
and look so pretty! _Mon Dieu!_ I was not ten years old yet! And
afterward it was only for that that I went into society. What should
girls go into society for otherwise but to meet their _brun_ or their
blond? Do you think it is amusing, to economize and economize, and sew
and sew, just to go to a party to dance? No! I assure you, I went into
society only for that; and I do not believe what girls say--they go
into society only for that too.
"You know at school how we used to _tirer la bonne aventure._[1] Well,
every time he was not _brun, riche, avenant_, Jules, or Raoul, or Guy,
I simply would not accept it, but would go on drawing until I obtained
what I wanted. As I tell you, I thought it was my destiny. And when I
would try with a flower to see if he loved me,--_Il m'aime, un peu,
beaucoup, passionément, pas du tout_,--if it were _pas du tout_, I
would always throw the flower away, and begin tearing off the leaves
from another one immediately. _Passionément_ was what I wanted, and I
always got it in the end.
[Footnote 1: _La bonne aventure_ is or was generally a very much
battered foolscap copy-book, which contained a list of all possible
elements of future (school-girl) happiness. Each item answered a
question, and had a number affixed to it. To draw one's fortune
consisted in asking question after question, and guessing a number,
a companion volunteering to read the answers. To avoid cheating, the
books were revised from time to time, and the numbers changed.]
"But papa, poor papa, he never knew anything of that, of course. He
would get furious when any one would come to see me, and sometimes,
when he would take me in society, if I danced with a 'nobody,'--as he
called no matter whom I danced with,--he would come up and take me
away with such an air--such an air! It would seem that papa thought
himself better than everybody in the world. But it went worse and
worse with papa, not only in the affairs of the world, but in health.
Always thinner and thinner, always a cough; in fact, you know, I am a
little feeble-chested myself, from papa. And Clementine! Clementine
with her children--just think, Louise, eight! I thank God my mama had
only me, if papa's second wife had to have so many. And so naughty! I
assure you, they were all devils; and no correction, no punishment, no
education--but you know Clementine! I tell you, sometimes on account
of those children I used to think myself in 'ell [making the Creole's
attempt and failure to pronounce the h], and Clementine had no pride
about them. If they had shoes, well; if they had not shoes, well
also.
[Illustration]
"'But Clementine!' I would expostulate, I would pray--
"'But do not be a fool, Mimi,' she would say. 'Am I God? Can I do
miracles? Or must I humiliate your papa?'
"That was true. Poor papa! It would have humiliated papa. When he had
money he gave; only it was a pity he had no money. As for what he
observed, he thought it was Clementine's negligence. For, it is true,
Clementine had no order, no industry, in the best of fortune as in the
worst. But to do her justice, it was not her fault this time, only she
let him believe it, to save his pride; and Clementine, you know, has a
genius for stories. I assure you, Louise, I was desperate. I prayed to
God to help me, to advise me. I could not teach--I had no education; I
could not go into a shop--that would be dishonoring papa--and _enfin_,
I was too pretty. 'And proclaim to the world,' Clementine would cry,
'that your papa does not make money for his family.' That was true. The
world is so malicious. You know, Louise, sometimes it seems to me
the world is glad to hear that a man cannot support his family; it
compliments those who can. As if papa had not intelligence, and honor,
and honesty! But they do not count now as in old times, 'before the
war.'
"And so, when I thought of that, I laughed and talked and played the
thoughtless like Clementine, and made bills. We made bills--we had
to--for everything; we could do that, you know, on our old name and
family. But it is too long! I am sure it is too long and tiresome!
What egotism on my part! Come, we will take a glass of anisette, and
talk of something else--your trip, your family. No? no? You are only
asking me out of politeness! You are so _aimable_, so kind. Well, if
you are not _ennuyée_--in fact, I want to tell you. It was too long
to write, and I detest a pen. To me there is no instrument of torture
like a pen.
"Well, the lady next door, she was an American, and common, very
common, according to papa. In comparison to us she had no family
whatever. Our little children were forbidden even to associate with
her little children. I thought that was ridiculous--not that I am a
democrat, but I thought it ridiculous. But the children cared; they
were so disobedient and they were always next door, and they always
had something nice to eat over there. I sometimes thought Clementine
used to encourage their disobedience, just for the good things they
got to eat over there. But papa was always making fun of them; you
know what a sharp tongue he had. The gentleman was a clerk; and,
according to papa, the only true gentlemen in the world had family
and a profession. We did not dare allow ourselves to think it, but
Clementine and I knew that they, in fact, were in more comfortable
circumstances than we.
"The lady, who also had a great number of children, sent one day, with
all the discretion and delicacy possible, and asked me if I would
be so kind as to--guess what, Louise! But only guess! But you never
could! Well, to darn some of her children's stockings for her. It was
God who inspired her, I am sure, on account of my praying so much to
him. You will be shocked, Louise, when I tell you. It sounds like a
sin, but I was not in despair when papa died. It was a grief,--yes,
it seized the heart, but it was not despair. Men ought not to be
subjected to the humiliation of life; they are not like women, you
know. We are made to stand things; they have their pride,--their
_orgueil_, as we say in French,--and that is the point of honor with
some men. And Clementine and I, we could not have concealed it much
longer. In fact, the truth was crying out everywhere, in the children,
in the house, in our own persons, in our faces. The darning did not
provide a superfluity, I guarantee you!
"Poor papa! He caught cold. He was condemned from the first. And so
all his fine qualities died; for he had fine qualities--they were too
fine for this age, that was all. Yes; it was a kindness of God to take
him before he found out. If it was to be, it was better. Just so with
Clementine as with me. After the funeral--crack! everything went to
pieces. We were at the four corners for the necessaries of life, and
the bills came in--my dear, the bills that came in! What memories!
what memories! Clementine and I exclaimed; there were some bills that
we had completely forgotten about. The lady next door sent her brother
over when papa died. He sat up all night, that night, and he assisted
us in all our arrangements. And he came in afterward, every evening.
If papa had been there, there would have been a fine scene over it; he
would have had to take the door, very likely. But now there was no one
to make objections. And so when, as I say, we were at the four corners
for the necessaries of life, he asked Clementine's permission to ask
me to marry him.
"I give you my word, Louise, I had forgotten there was such a thing as
marriage in the world for me! I had forgotten it as completely as the
chronology of the Merovingian dynasty, alas! with all the other school
things forgotten. And I do not believe Clementine remembered there was
such a possibility in the world for me. _Mon Dieu!_ when a girl is
poor she may have all the beauty in the world--not that I had beauty,
only a little prettiness. But you should have seen Clementine! She
screamed for joy when she told me. Oh, there was but one answer
according to her, and according to everybody she could consult, in her
haste. They all said it was a dispensation of Providence in my favor.
He was young, he was strong; he did not make a fortune, it was true,
but he made a good living. And what an assistance to have a man in
the family!--an assistance for Clementine and the children. But the
principal thing, after all, was, he wanted to marry me. Nobody had
ever wanted that before, my dear!
"Quick, quick, it was all arranged. All my friends did something for
me. One made my _peignoirs_ for me, one this, one that--_ma foi!_
I did not recognize myself. One made all the toilet of the bureau,
another of the bed, and we all sewed on the wedding-dress together.
And you should have seen Clementine, going out in all her great
mourning, looking for a house, looking for a servant! But the wedding
was private on account of poor papa. But you know, Loulou, I had never
time to think, except about Clementine and the children, and when I
thought of all those poor little children, poor papa's children, I
said 'Quick, quick,' like the rest.
"It was the next day, the morning after the wedding, I had time to
think. I was sitting here, just as you see me now, in my pretty new
_negligée_. I had been looking at all the pretty presents I have
shown you, and my trousseau, and my furniture,--it is not bad, as
you see,--my dress, my veil, my ring, and--I do not know--I do not
know--but, all of a sudden, from everywhere came the thought of my
_brun_, my handsome _brun_ with the mustache, and the _bonne aventure,
ricke, avenant_, the Jules, Raoul, Guy, and the flower leaves, and
'_il m'aime, un pen, beaucoup, pas du tout,' passionnément_, and the
way I expected to meet him walking to and from school, walking as if
I were dancing the steps, and oh, my plans, my plans, my plans,--silk
dresses, theater, voyages to Europe,--and poor papa, so fine, so tall,
so aristocratic. I cannot tell you how it all came; it seized my
heart, and, _mon Dieu!_ I cried out, and I wept, I wept, I wept. How
I wept! It pains me here now to remember it. Hours, hours it lasted,
until I had no tears in my body, and I had to weep without them, with
sobs and moans. But this, I have always observed, is the time for
reflection--after the tears are all out. And I am sure God himself
gave me my thoughts. 'Poor little Mimi!' I thought, '_fi done_! You
are going to make a fool of yourself now when it is all over, because
why? It is God who manages the world, and not you. You pray to God to
help you in your despair, and he has helped you. He has sent you a
good, kind husband who adores you; who asks only to be a brother to
your sisters and brothers, and son to Clementine; who has given you
more than you ever possessed in your life--but because he did not come
out of the _bonne aventure_--and who gets a husband out of the
_bonne aventure?_--and would your _brun_ have come to you in your
misfortune?' I am sure God inspired those thoughts in me.
[Illustration: "I wept, I wept, I wept."]
"I tell you, I rose from that bed--naturally I had thrown myself upon
it. Quick I washed my face, I brushed my hair, and, you see these bows
of ribbons,--look, here are the marks of the tears,--I turned them.
_Hé,_ Loulou, it occurs to me, that if you examined the blue bows on
a bride's _negligée_, you might always find tears on the other side;
for do they not all have to marry whom God sends? and am I the only
one who had dreams? It is the end of dreams, marriage; and that is the
good thing about it. God lets us dream to keep us quiet, but he knows
when to wake us up, I tell you. The blue bows knew! And now, you see,
I prefer my husband to my _brun_; in fact, Loulou, I adore him, and I
am furiously jealous about him. And he is so good to Clementine and
the poor little children; and see his photograph--a blond, and not
good-looking, and small!
"But poor papa! If he had been alive, I am sure he never would have
agreed with God about my marriage."
THE MIRACLE CHAPEL
Every heart has a miracle to pray for. Every life holds that which
only a miracle can cure. To prove that there have never been, that
there can never be, miracles does not alter the matter. So long as
there is something hoped for,--that does not come in the legitimate
channel of possible events,--so long as something does come not to be
hoped or expected in the legitimate channel of possible events, just
so long will the miracle be prayed for.
The rich and the prosperous, it would seem, do not depend upon God so
much, do not need miracles, as the poor do. They do not have to pray
for the extra crust when starvation hovers near; for the softening of
an obdurate landlord's heart; for strength in temptation, light in
darkness, salvation from vice; for a friend in friendlessness; for
that miracle of miracles, an opportunity to struggling ambition; for
the ending of a dark night, the breaking of day; and, oh! for God's
own miracle to the bedside-watchers--the change for the better, when
death is there and the apothecary's skill too far, far away. The poor,
the miserable, the unhappy, they can show their miracles by the score;
that is why God is called the poor man's friend. He does not mind, so
they say, going in the face of logic and reason to relieve them; for
often the kind and charitable are sadly hampered by the fetters of
logic and reason, which hold them, as it were, away from their own
benevolence.
But the rich have their miracles, no doubt, even in that beautiful
empyrean of moneyed ease in which the poor place them. Their money
cannot buy all they enjoy, and God knows how much of their sorrow it
assuages. As it is, one hears now and then of accidents among them,
conversions to better thoughts, warding off of danger, rescue of life;
and heirs are sometimes born, and husbands provided, and fortunes
saved, in such surprising ways, that even the rich, feeling their
limitations in spite of their money, must ascribe it privately if not
publicly to other potencies than their own. These cathedral _tours
de force_, however, do not, if the truth be told, convince like the
miracles of the obscure little chapel.
There is always a more and a most obscure little miracle chapel, and
as faith seems ever to lead unhesitatingly to the latter one, there is
ever rising out of humility and obscurity, as in response to a demand,
some new shrine, to replace the wear and tear and loss of other
shrines by prosperity. For, alas! it is hard even for a chapel to
remain obscure and humble in the face of prosperity and popularity.
And how to prevent such popularity and prosperity? As soon as the
noise of a real miracle in it gets abroad, every one is for hurrying
thither at once with their needs and their prayers, their candles
and their picayunes; and the little miracle chapel, perhaps despite
itself, becomes with mushroom growth a church, and the church a
cathedral, from whose resplendent altars the cheap, humble ex-voto
tablets, the modest beginnings of its ecclesiastical fortunes, are
before long banished to dimly lighted lateral shrines.
The miracle chapel in question lay at the end of a very confusing but
still intelligible route. It is not in truth a chapel at all, but a
consecrated chamber in a very small, very lowly cottage, which stands,
or one might appropriately, if not with absolute novelty, say which
kneels, in the center of a large garden, a garden primeval in
rusticity and size, its limits being defined by no lesser boundaries
than the four intersecting streets outside, and its culture showing
only the careless, shiftless culture of nature. The streets outside
were miracles themselves in that, with their liquid contents, they
were streets and not bayous. However, they protected their island
chapel almost as well as a six-foot moat could have done. There was a
small paved space on the sidewalk that served to the pedestrian as an
indication of the spot in the tall, long, broad fence where a gate
might be sought. It was a small gate with a strong latch. It required
a strong hand to open it. At the sound of the click it made, the
little street ragamuffin, who stood near, peeping through the fence,
looked up. He had worked quite a hole between the boards with his
fingers. Such an anxious expression passed over his face that even
a casual passer-by could not help relieving it by a question--any
question:
"Is this the miracle chapel, little boy?"
"Yes, ma'am; yes." Then his expression changed to one of eagerness,
yet hardly less anxious.
"Here. Take this--"
He did not hold out his hand, the coin had to seek it. At its touch he
refused to take it.
"I ain't begging."
"What are you looking at so through the fence?" He was all sadness
now.
"Just looking."
"Is there anything to see inside?"
He did not answer. The interrogation was repeated.
"I can't see nothing. I'm blind," putting his eyes again to the hole,
first one, then the other.
"Come, won't you tell me how this came to be a miracle chapel?"
"Oh, ma'am,"--he turned his face from the fence, and clasped his hands
in excitement,--"it was a poor widow woman who come here with her baby
that was a-dying, and she prayed to the Virgin Mary, and the Virgin
Mary made the baby live--"
He dropped his voice, the words falling slower and slower. As he
raised his face, one could see then that he was blind, and the
accident that had happened to him, in fording the street. What
sightless eyes! What a wet, muddy little skeleton! Ten? No; hardly ten
years of age.
"The widow woman she picked up her baby, and she run down the walk
here, and out into the street screaming--she was so glad,"--putting
his eyes to the peep-hole again,--"and the Virgin Mary come down the
walk after her, and come through the gate, too; and that was all she
seed--the widow woman."
"Did you know the widow woman?"
He shook his head.
"How do you know it?"
"That was what they told me. And they told me, the birds all begun to
sing at once, and the flowers all lighted up like the sun was shining
on them. They seed her. And she come down the walk, and through the
gate," his voice lowering again to a whisper.
Aye, how the birds must have sung, and the flowers shone, to the
widowed mother as she ran, nay, leaped, down that rose-hedged walk,
with her restored baby clasped to her bosom!
"_They_ seed her," repeated the little fellow. "And that is why you
stand here--to see her, too?"
His shoulder turned uneasily in the clasp upon it.
"They seed her, and they ain't got no eyes."
"Have you no mother?"
"Ain't never had no mother." A thought struck him. "Would that count,
ma'am? Would that count? The little baby that was dying--yes, ma'am,
it had a mother; and it's the mothers that come here constant with
their children; I sometimes hear 'em dragging them in by the hand."
"How long have you been coming here?"
"Ever since the first time I heard it, ma'am."
Street ragamuffins do not cry: it would be better if they did so, when
they are so young and so blind; it would be easier for the spectator,
the auditor.
"They seed her--I might see her ef--ef I could see her once--ef--ef
I could see anything once." His voice faltered; but he stiffened it
instantly. "She might see me. She can't pass through this gate without
seeing me; and--and--ef she seed me--and I didn't even see her--oh,
I'm so tired of being blind!"
"Did you never go inside to pray?" How embarrassing such a question
is, even to a child!
"No, ma'am. Does that count, too? The little baby didn't pray, the
flowers didn't go inside, nor the birds. And they say the birds broke
out singing all at once, and the flowers shined, like the sun was
shining on 'em--like the sun was shining in 'em," he corrected
himself. "The birds they can see, and the flowers they can't see, and
they seed her." He shivered with the damp cold--and perhaps too with
hunger.
"Where do you live?"
He wouldn't answer.
"What do you live on?"
He shook his head.
"Come with me." He could not resist the grasp on his shoulder, and the
firm directing of his bare, muddy feet through the gate, up the walk,
and into the chamber which the Virgin found that day. He was turned to
the altar, and pressed down on his knees.
One should not look at the face of a blind child praying to the Virgin
for sight. Only the Virgin herself should see that--and if she once
saw that little boy! There were hearts, feet, hands, and eyes enough
hanging around to warrant hope at least, if not faith; the effigies of
the human aches and pains that had here found relief, if not surcease;
feet and hands beholden to no physician for their exorcism of
rheumatism; eyes and ears indebted to no oculist or aurist; and the
hearts,--they are always in excess,--and, to the most skeptical, there
is something sweetly comforting in the sight of so many cured hearts,
with their thanks cut deep, as they should be, in the very marble
thereof. Where the bed must have stood was the altar, rising by easy
gradations, brave in ecclesiastical deckings, to the plaster figure of
her whom those yearning hearts were seeing, whom those murmuring lips
were addressing. Hearts must be all alike to her at such a distance,
but the faces to the looker-on were so different. The eyes straining
to look through all the experiences and troubles that their life has
held to plead, as only eyes can plead, to one who can, if she will,
perform their miracle for them. And the mouths,--the sensitive human
mouths,--each one distorted by the tragedy against which it was
praying.
Their miracles! their miracles! what trifles to divinity! Perhaps
hardly more to humanity! How far a simple looker-on could supply them
if so minded! Perhaps a liberal exercise of love and charity by not
more than half a dozen well-to-do people could answer every prayer in
the room! But what a miracle that would be, and how the Virgin's heart
would gladden thereat, and jubilate over her restored heart-dying
children, even as the widowed mother did over her one dying babe!
And the little boy had stopped praying. The futility of it--perhaps
his own impotence--had overcome him. He was crying, and past the shame
of showing it--crying helplessly, hopelessly. Tears were rolling out
of his sightless eyes over his wordless lips. He could not pray; he
could only cry. What better, after all, can any of us do? But what
a prayer to a woman--to even the plaster figure of a woman! And the
Virgin did hear him; for she had him taken without loss of a moment to
the hospital, and how easy she made it for the physician to remove the
disability! To her be the credit.
THE STORY OF A DAY
It is really not much, the story; it is only the arrangement of it, as
we would say of our dresses and our drawing-rooms.
It began with the dawn, of course; and the skiff for our voyage,
silvered with dew, waiting in the mist for us, as if it had floated
down in a cloud from heaven to the bayou. When repeated, this sounds
like poor poetry; but that is the way one thinks at day dawn, when the
dew is yet, as it were, upon our brains, and our ideas are still half
dreams, and our waking hearts, alas! as innocent as waking babies
playing with their toes.
Our oars waked the waters of the bayou, as motionless as a sleeping
snake under its misty covert--to continue the poetical language or
thought. The ripples ran frightened and shivering into the rooty
thicknesses of the sedge-grown banks, startling the little birds
bathing there into darting to the nearest, highest rush-top, where,
without losing their hold on their swaying, balancing perches, they
burst into all sorts of incoherent songs, in their excitement to
divert attention from the near-hidden nests: bird mothers are so much
like women mothers!
It soon became day enough for the mist to rise. The eyes that saw it
ought to be able to speak to tell fittingly about it.
Not all at once, nor all together, but a thinning, a lifting, a
breaking, a wearing away; a little withdrawing here, a little
withdrawing there; and now a peep, and now a peep; a bride lifting her
veil to her husband! Blue! White! Lilies! Blue lilies! White lilies!
Blue and white lilies! And still blue and white lilies! And still! And
still! Wherever the veil lifted, still and always the bride!
Not in clumps and bunches, not in spots and patches, not in banks,
meadows, acres, but in--yes; for still it lifted beyond and beyond and
beyond; the eye could not touch the limit of them, for the eye can
touch only the limit of vision; and the lilies filled the whole
sea-marsh, for that is the way spring comes to the sea-marshes.
The sedge-roots might have been unsightly along the water's edge,
but there were morning-glories, all colors, all shades--oh, such
morning-glories as we of the city never see! Our city morning-glories
must dream of them, as we dream of angels. Only God could be so
lavish! Dropping from the tall spear-heads to the water, into the
water, under the water. And then, the reflection of them, in all their
colors, blue, white, pink, purple, red, rose, violet!
To think of an obscure little Acadian bayou waking to flow the
first thing in the morning not only through banks of new-blown
morning-glories, but sown also to its depths with such reflections as
must make it think itself a bayou in heaven, instead of in Paroisse
St. Martin. Perhaps that is the reason the poor poets think themselves
poets, on account of the beautiful things that are only reflected into
their minds from what is above? Besides the reflections, there were
alligators in the bayou, trying to slip away before we could see them,
and watching us with their stupid, senile eyes, sometimes from under
the thickest, prettiest flowery bowers; and turtles splashing into
the water ahead of us; and fish (silver-sided perch), looking like
reflections themselves, floating through the flower reflections,
nibbling their breakfast.
Our bayou had been running through swamp only a little more solid than
itself; in fact, there was no solidity but what came from the roots of
grasses. Now, the banks began to get firmer, from real soil in them.
We could see cattle in the distance, up to their necks in the lilies,
their heads and sharp-pointed horns coming up and going down in the
blue and white. Nothing makes cattle's heads appear handsomer, with
the sun just rising far, far away on the other side of them.
The sea-marsh cattle turned loose to pasture in the lush spring
beauty--turned loose in Elysium!
But the land was only partly land yet, and the cattle still cattle to
us. The rising sun made revelations, as our bayou carried us through a
drove in their Elysium, or it might have always been an Elysium to
us. It was not all pasturage, all enjoyment. The rising and falling
feeding head was entirely different, as we could now see, from the
rising and falling agonized head of the bogged--the buried alive.
It is well that the lilies grow taller and thicker over the more
treacherous places; but, misery! misery! not much of the process was
concealed from us, for the cattle have to come to the bayou for
water. Such a splendid black head that had just yielded breath! The
wide-spreading ebony horns thrown back among the morning-glories, the
mouth open from the last sigh, the glassy eyes staring straight at the
beautiful blue sky above, where a ghostly moon still lingered, the
velvet neck ridged with veins and muscles, the body already buried in
black ooze. And such a pretty red-and-white-spotted heifer, lying on
her side, opening and shutting her eyes, breathing softly in meek
resignation to her horrible calamity! And, again, another one was
plunging and battling in the act of realizing her doom: a fierce,
furious, red cow, glaring and bellowing at the soft, yielding
inexorable abysm under her, the bustards settling afar off, and her
own species browsing securely just out of reach.
They understand that much, the sea-marsh cattle, to keep out of reach
of the dead combatant. In the delirium of anguish, relief cannot be
distinguished from attack, and rescue of the victim has been proved to
mean goring of the rescuer.
The bayou turned from it at last, from our beautiful lily world about
which our pleasant thoughts had ceased to flow even in bad poetry.
Our voyage was for information, which might be obtained at a certain
habitation; if not there, at a second one, or surely at a third and
most distant settlement.
The bayou narrowed into a canal, then widened into a bayou again, and
the low, level swamp and prairie advanced into woodland and forest.
Oak-trees began, our beautiful oak-trees! Great branches bent down
almost to the water,--quite even with high water,--covered with
forests of oak, parasites, lichens, and with vines that swept our
heads as we passed under them, drooping now and then to trail in the
water, a plaything for the fishes, and a landing-place for amphibious
insects. The sun speckled the water with its flickering patterns,
showering us with light and heat. We have no spring suns; our sun,
even in December, is a summer one.
And so, with all its grace of curve and bend, and so--the description
is longer than the voyage--we come to our first stopping-place. To the
side, in front of the well-kept fertile fields, like a proud little
showman, stood the little house. Its pointed shingle roof covered it
like the top of a chafing-dish, reaching down to the windows, which
peeped out from under it like little eyes.
A woman came out of the door to meet us. She had had time during our
graceful winding approach to prepare for us. What an irrevocable
vow to old maidenhood! At least twenty-five, almost a possible
grandmother, according to Acadian computation, and well in the grip
of advancing years. She was dressed in a stiff, dark red calico gown,
with a white apron. Her black hair, smooth and glossy under a varnish
of grease, was plaited high in the back, and dropped regular ringlets,
six in all, over her forehead. That was the epoch when her calamity
came to her, when the hair was worn in that fashion. A woman seldom
alters her coiffure after a calamity of a certain nature happens
to her. The figure had taken a compact rigidity, an unfaltering
inflexibility, all the world away from the elasticity of matronhood;
and her eyes were clear and fixed like her figure, neither falling,
nor rising, nor puzzling under other eyes. Her lips, her hands, her
slim feet, were conspicuously single, too, in their intent, neither
reaching, nor feeling, nor running for those other lips, hands, and
feet which should have doubled their single life.
That was Adorine Mérionaux, otherwise the most industrious Acadian and
the best cottonade-weaver in the parish. It had been short, her story.
A woman's love is still with those people her story. She was thirteen
when she met him. That is the age for an Acadian girl to meet him,
because, you know, the large families--the thirteen, fourteen,
fifteen, twenty children--take up the years; and when one wishes
to know one's great-great-grandchildren (which is the dream of the
Acadian girl) one must not delay one's story.
She had one month to love him in, and in one week they were to have
the wedding. The Acadians believe that marriage must come _au point_,
as cooks say their sauces must be served. Standing on the bayou-bank
in front of the Mérionaux, one could say "Good day" with the eyes to
the Zévérin Theriots--that was the name of the parents of the young
bridegroom. Looking under the branches of the oaks, one could see
across the prairie,--prairie and sea-marsh it was,--and clearly
distinguish another little red-washed house like the Mérionaux, with
a painted roof hanging over the windows, and a staircase going up
outside to the garret. With the sun shining in the proper direction,
one might distinguish more, and with love shining like the sun in the
eyes, one might see, one might see--a heart full.
It was only the eyes, however, which could make such a quick voyage to
the Zévérin Theriots; a skiff had a long day's journey to reach them.
The bayou sauntered along over the country like a negro on a Sunday's
pleasuring, trusting to God for time, and to the devil for means.
Oh, nothing can travel quickly over a bayou! Ask any one who has
waited on a bayou-bank for a physician or a life-and-death message.
Thought refuses to travel and turn and double over it; thought, like
the eye, takes the shortest cut--straight over the sea-marsh; and in
the spring of the year, when the lilies are in bloom, thought could
not take a more heavenly way, even from beloved to beloved.
It was the week before marriage, that week when, more than one's whole
life afterward, one's heart feels most longing--most--well, in fact,
it was the week before marriage. From Sunday to Sunday, that was all
the time to be passed. Adorine--women live through this week by
the grace of God, or perhaps they would be as unreasonable as the
men--Adorine could look across the prairie to the little red roof
during the day, and could think across it during the night, and get
up before day to look across again--longing, longing all the time.
Of course one must supply all this from one's own imagination or
experience.
But Adorine could sing, and she sang. One might hear, in a favorable
wind, a gunshot, or the barking of a dog from one place to the other,
so that singing, as to effect, was nothing more than the voicing of
her looking and thinking and longing.
When one loves, it is as if everything was known of and seen by the
other; not only all that passes in the head and heart, which would
in all conscience be more than enough to occupy the other, but the
talking, the dressing, the conduct. It was then that the back hair was
braided and the front curled more and more beautifully every day, and
that the calico dresses became stiffer and stiffer, and the white
crochet lace collar broader and lower in the neck. At thirteen she was
beautiful enough to startle one, they say, but that was nothing; she
spent time and care upon these things, as if, like other women, her
fate seriously depended upon them. There is no self-abnegation like
that of a woman in love.
It was her singing, however, which most showed that other existence
in her existence. When she sang at her spinning-wheel or her loom, or
knelt battling clothes on the bank of the bayou, her lips would kiss
out the words, and the tune would rise and fall and tremble, as if
Zepherin were just across there, anywhere; in fact, as if every blue
and white lily might hide an ear of him.
It was the time of the new moon, fortunately, when all sit up late in
the country. The family would stop in their talking about the
wedding to listen to her. She did not know it herself, but it--the
singing--was getting louder and clearer, and, poor little thing, it
told everything. And after the family went to bed they could still
hear her, sitting on the bank of the bayou, or up in her window,
singing and looking at the moon traveling across the lily prairie--for
all its beauty and brightness no more beautiful and bright than a
heart in love.
It was just past the middle of the week, a Thursday night. The moon
was so bright the colors of the lilies could be seen, and the singing,
so sweet, so far-reaching--it was the essence of the longing of love.
Then it was that the miracle happened to her. Miracles are always
happening to the Acadians. She could not sleep, she could not stay in
bed. Her heart drove her to the window, and kept her there, and--among
the civilized it could not take place, but here she could sing as she
pleased in the middle of the night; it was nobody's affair, nobody's
disturbance. "Saint Ann! Saint Joseph! Saint Mary!" She heard her song
answered! She held her heart, she bent forward, she sang again. Oh,
the air was full of music! It was all music! She fell on her knees;
she listened, looking at the moon; and, with her face in her hands,
looking at Zepherin. It was God's choir of angels, she thought, and
one with a voice like Zepherin! Whenever it died away she would sing
again, and again, and again--
[Illustration: "HER HEART DROVE HER TO THE WINDOW".]
But the sun came, and the sun is not created, like the moon, for
lovers, and whatever happened in the night, there was work to be done
in the day. Adorine worked like one in a trance, her face as radiant
as the upturned face of a saint. They did not know what it was, or
rather they thought it was love. Love is so different out there, they
make all kinds of allowances for it. But, in truth, Adorine was
still hearing her celestial voices or voice. If the cackling of the
chickens, the whir of the spinning-wheel, or the "bum bum" of the loom
effaced it a moment, she had only to go to some still place, round
her hand over her ear, and give the line of a song, and--it was
Zepherin--Zepherin she heard.
She walked in a dream until night. When the moon came up she was at
the window, and still it continued, so faint, so sweet, that answer to
her song. Echo never did anything more exquisite, but she knew nothing
of such a heathen as Echo. Human nature became exhausted. She fell
asleep where she was, in the window, and dreamed as only a bride can
dream of her groom. When she awoke, "Adorine! Adorine!" the beautiful
angel voices called to her; "Zepherin! Zepherin!" she answered, as if
she, too, were an angel, signaling another angel in heaven. It was too
much. She wept, and that broke the charm. She could hear nothing more
after that. All that day was despondency, dejection, tear-bedewed
eyes, and tremulous lips, the commonplace reaction, as all know, of
love exaltation. Adorine's family, Acadian peasants though they were,
knew as much about it as any one else, and all that any one knows
about it is that marriage is the cure-all, and the only cure-all, for
love.
[Illustration: "ALL THAT DAY WAS DESPONDENCY, DEJECTION."]
And Zepherin? A man could better describe his side of that week; for
it, too, has mostly to be described from imagination or experience.
What is inferred is that what Adorine longed and thought and looked
in silence and resignation, according to woman's way, he suffered
equally, but in a man's way, which is not one of silence or
resignation,--at least when one is a man of eighteen,--the last
interview, the near wedding, her beauty, his love, her house in sight,
the full moon, the long, wakeful nights.
He took his pirogue; but the bayou played with his impatience,
maddened his passion, bringing him so near, to meander with him again
so far away. There was only a short prairie between him and ----, a
prairie thick with lily-roots--one could almost walk over their
heads, so close, and gleaming in the moonlight. But this is all only
inference.
The pirogue was found tethered to the paddle stuck upright in the soft
bank, and--Adorine's parents related the rest. Nothing else was found
until the summer drought had bared the swamp.
There was a little girl in the house when we arrived--all else were in
the field--a stupid, solemn, pretty child, the child of a brother. How
she kept away from Adorine, and how much that testified!
It would have been too painful. The little arms around her neck, the
head nestling to her bosom, sleepily pressing against it. And the
little one might ask to be sung to sleep. Sung to sleep!
The little bed-chamber, with its high mattressed bed, covered with
the Acadian home-spun quilt, trimmed with netting fringe, its bit of
mirror over the bureau, the bottle of perfumed grease to keep the
locks black and glossy, the prayer-beads and blessed palms hanging
on the wall, the low, black polished spinning-wheel, the loom,--the
_métier d' Adorine_ famed throughout the parish,--the ever goodly
store of cotton and yarn hanks swinging from the ceiling, and the
little square, open window which looked under the mossy oak-branches
to look over the prairie; and once again all blue and white
lilies--they were all there, as Adorine was there; but there was
more--not there.
ANNE MARIE AND JEANNE MARIE
Old Jeanne Marie leaned her hand against the house, and the tears
rolled down her cheeks. She had not wept since she buried her last
child. With her it was one trouble, one weeping, no more; and her
wrinkled, hard, polished skin so far had known only the tears that
come after death. The trouble in her heart now was almost exactly like
the trouble caused by death; although she knew it was not so bad as
death, yet, when she thought of this to console herself, the tears
rolled all the faster. She took the end of the red cotton kerchief
tied over her head, and wiped them away; for the furrows in her face
did not merely run up and down--they ran in all directions, and
carried her tears all over her face at once. She could understand
death, but she could not understand this.
It came about in this way: Anne Marie and she lived in the little
red-washed cabin against which she leaned; had lived there alone with
each other for fifty years, ever since Jeanne Marie's husband had died,
and the three children after him, in the fever epidemic.
The little two-roomed cabin, the stable where there used to be a cow,
the patch of ground planted with onions, had all been bought and paid
for by the husband; for he was a thrifty, hard-working Gascon, and had
he lived there would not have been one better off, or with a larger
family, either in that quarter or in any of the red-washed
suburbs with which Gascony has surrounded New Orleans. His women,
however,--the wife and sister-in-law,--had done their share in the
work: a man's share apiece, for with the Gascon women there is no
discrimination of sex when it comes to work.
And they worked on just the same after he died, tending the cow,
digging, hoeing, planting, watering. The day following the funeral, by
daylight Jeanne Marie was shouldering around the yoke of milk-cans to
his patrons, while Anne Marie carried the vegetables to market; and so
on for fifty years.
They were old women now,--seventy-five years old,--and, as they
expressed it, they had always been twins. In twins there is always one
lucky and one unlucky one: Jeanne Marie was the lucky one, Anne Marie
the unlucky one. So much so, that it was even she who had to catch the
rheumatism, and to lie now bedridden, months at a time, while Jeanne
Marie was as active in her sabots as she had ever been.
In spite of the age of both, and the infirmity of one, every Saturday
night there was some little thing to put under the brick in the
hearth, for taxes and license, and the never-to-be-forgotten funeral
provision. In the husband's time gold pieces used to go in, but they
had all gone to pay for the four funerals and the quadrupled doctor's
bill. The women laid in silver pieces; the coins, however, grew
smaller and smaller, and represented more and more not so much the
gain from onions as the saving from food.
It had been explained to them how they might, all at once, make a
year's gain in the lottery; and it had become their custom always, at
the end of every month, to put aside one silver coin apiece, to buy a
lottery ticket with--one ticket each, not for the great, but for the
twenty-five-cent, prizes. Anne Marie would buy hers round about the
market; Jeanne Marie would stop anywhere along her milk course and buy
hers, and they would go together in the afternoon to stand with the
little crowd watching the placard upon which the winning numbers were
to be written. And when they were written, it was curious, Jeanne
Marie's numbers would come out twice as often as Anne Marie's. Not
that she ever won anything, for she was not lucky enough to have them
come out in the order to win; they only came out here and there,
singly: but it was sufficient to make old Anne Marie cross and ugly
for a day or two, and injure the sale of the onion-basket. When she
became bedridden, Jeanne Marie bought the ticket for both, on the
numbers, however, that Anne Marie gave her; and Anne Marie had to lie
in bed and wait, while Jeanne Marie went out to watch the placard.
One evening, watching it, Jeanne Marie saw the ticket-agent write out
the numbers as they came on her ticket, in such a way that they drew
a prize--forty dollars.
When the old woman saw it she felt such a happiness; just as she used
to feel in the old times right after the birth of a baby. She thought
of that instantly. Without saying a word to any one, she clattered
over the _banquette_ as fast as she could in her sabots, to tell the
good news to Anne Marie. But she did not go so fast as not to have
time to dispose of her forty dollars over and over again. Forty
dollars! That was a great deal of money. She had often in her mind,
when she was expecting a prize, spent twenty dollars; for she had
never thought it could be more than that. But forty dollars! A new
gown apiece, and black silk kerchiefs to tie over their heads instead
of red cotton, and the little cabin new red-washed, and soup in the
pot, and a garlic sausage, and a bottle of good, costly liniment for
Anne Marie's legs; and still a pile of gold to go under the
hearth-brick--a pile of gold that would have made the eyes of the
defunct husband glisten.
She pushed open the picket-gate, and came into the room where her
sister lay in bed.
"Eh, Anne Marie, my girl," she called in her thick, pebbly voice,
apparently made purposely to suit her rough Gascon accent; "this time
we have caught it!"
[Illustration: "THIS TIME WE HAVE CAUGHT IT!"]
"Whose ticket?" asked Anne Marie, instantly.
In a flash all Anne Marie's ill luck ran through Jeanne Marie's mind;
how her promised husband had proved unfaithful, and Jeanne Marie's
faithful; and how, ever since, even to the coming out of her lottery
numbers, even to the selling of vegetables, even to the catching of
the rheumatism, she had been the loser. But above all, as she looked
at Anne Marie in the bed, all the misery came over Jeanne Marie of her
sister's not being able, in all her poor old seventy-five years of
life, to remember the pressure of the arms of a husband about her
waist, nor the mouth of a child on her breast.
As soon as Anne Marie had asked her question, Jeanne Marie answered
it.
"But your ticket, _Coton-Maï!_"[1]
[Footnote 1: _Coton-Maï_ is an innocent oath invented by the good,
pious priest as a substitute for one more harmful.]
"Where? Give it here! Give it here!"
The old woman, who had not been able to move her back for weeks, sat
bolt upright in bed, and stretched out her great bony fingers, with
the long nails as hard and black as rake-prongs from groveling in the
earth.
Jeanne Marie poured the money out of her cotton handkerchief into
them.
Anne Marie counted it, looked at it; looked at it, counted it; and
if she had not been so old, so infirm, so toothless, the smile that
passed over her face would have made it beautiful.
Jeanne Marie had to leave her to draw water from the well to water the
plants, and to get her vegetables ready for next morning. She felt
even happier now than if she had just had a child, happier even than
if her husband had just returned to her.
"Ill luck! _Coton-Maï!_ Ill luck! There's a way to turn ill luck!"
And her smile also should have beautified her face, wrinkled and ugly
though it was.
She did not think any more of the spending of the money, only of the
pleasure Anne Marie would take in spending it.
The water was low in the well, and there had been a long drought.
There are not many old women of seventy-five who could have watered so
much ground as abundantly as she did; but whenever she thought of the
forty dollars and Anne Marie's smile she would give the thirsting
plant an extra bucketful.
The twilight was gaining. She paused. "_Coton-Maï_" she exclaimed
aloud. "But I must see the old woman smile again over her good luck."
Although it was "my girl" face to face, it was always "the old woman"
behind each other's back.
There was a knot-hole in the plank walls of the house. In spite of
Anne Marie's rheumatism they would never stop it up, needing it, they
said, for light and air. Jeanne Marie slipped her feet out of her
sabots and crept easily toward it, smiling, and saying "_Coton-Maï_!"
to herself all the way. She put her eye to the hole. Anne Marie was
not in the bed, she who had not left her bed for two months! Jeanne
Marie looked through the dim light of the room until she found her.
Anne Marie, in her short petticoat and nightsack, with bare legs
and feet, was on her knees in the corner, pulling up a plank,
hiding--peasants know hiding when they see it--hiding her money
away--away--away from whom?--muttering to herself and shaking her old
grayhaired head. Hiding her money away from Jeanne Marie!
And this was why Jeanne Marie leaned her head against the side of the
house and wept. It seemed to her that she had never known her twin
sister at all.
A CRIPPLED HOPE
You must picture to yourself the quiet, dim-lighted room of a
convalescent; outside, the dreary, bleak days of winter in a sparsely
settled, distant country parish; inside, a slow, smoldering log-fire,
a curtained bed, the infant sleeping well enough, the mother wakeful,
restless, thought-driven, as a mother must be, unfortunately,
nowadays, particularly in that parish, where cotton worms and
overflows have acquired such a monopoly of one's future.
[Illustration: "THE QUIET, DIM-LIGHTED ROOM OF A CONVALESCENT."]
God is always pretty near a sick woman's couch; but nearer even than
God seems the sick-nurse--at least in that part of the country, under
those circumstances. It is so good to look through the dimness and
uncertainty, moral and physical, and to meet those little black,
steadfast, all-seeing eyes; to feel those smooth, soft, all-soothing
hands; to hear, across one's sleep, that three-footed step--the
flat-soled left foot, the tiptoe right, and the padded end of
the broomstick; and when one is so wakeful and restless and
thought-driven, to have another's story given one. God, depend upon
it, grows stories and lives as he does herbs, each with a mission of
balm to some woe.
She said she had, and in truth she had, no other name than "little
Mammy"; and that was the name of her nature. Pure African, but bronze
rather than pure black, and full-sized only in width, her growth
having been hampered as to height by an injury to her hip, which
had lamed her, pulling her figure awry, and burdening her with a
protuberance of the joint. Her mother caused it by dropping her when a
baby, and concealing it, for fear of punishment, until the dislocation
became irremediable. All the animosity of which little Mammy was
capable centered upon this unknown but never-to-be-forgotten mother of
hers; out of this hatred had grown her love--that is, her destiny, a
woman's love being her destiny. Little Mammy's love was for children.
The birth and infancy (the one as accidental as the other, one would
infer) took place in--it sounds like the "Arabian Nights" now!--took
place in the great room, caravansary, stable, behind a negro-trader's
auction-mart, where human beings underwent literally the daily buying
and selling of which the world now complains in a figure of speech--a
great, square, dusty chamber where, sitting cross-legged, leaning
against the wall, or lying on foul blanket pallets on the floor, the
bargains of to-day made their brief sojourn, awaiting transformation
into the profits of the morrow.
The place can be pointed out now, is often pointed out; but no emotion
arises at sight of it. It is so plain, so matter-of-fact an edifice
that emotion only comes afterward in thinking about it, and then in
the reflection that such an edifice could be, then as now, plain and
matter-of-fact.
For the slave-trader there was no capital so valuable as the physical
soundness of his stock; the moral was easily enough forged or
counterfeited. Little Mammy's good-for-nothing mother was sold as
readily as a vote, in the parlance of to-day; but no one would pay
for a crippled baby. The mother herself would not have taken her as
a gift, had it been in the nature of a negro-trader to give
away anything. Some doctoring was done,--so little Mammy heard
traditionally,--some effort made to get her marketable. There were
attempts to pair her off as a twin sister of various correspondencies
in age, size, and color, and to palm her off, as a substitute,
at migratory, bereaved, overfull breasts. Nothing equaled a
negro-trader's will and power for fraud, except the hereditary
distrust and watchfulness which it bred and maintained. And so, in the
even balance between the two categories, the little cripple remained a
fixture in the stream of life that passed through that back room,
in the fluxes and refluxes of buying and selling; not valueless,
however--rely upon a negro-trader for discovering values as
substitutes, as panaceas. She earned her nourishment, and Providence
did not let it kill the little animal before the emancipation of
weaning arrived.
[Illustration: "LITTLE MAMMY."]
How much circumstances evoked, how much instinct responded, belongs to
the secrets which nature seems to intend keeping. As a baby she had
eyes, attention, solely for other babies. One cannot say while she was
still crawling, for she could only crawl years after she should have
been walking, but, before even precocious walking-time, tradition or
the old gray-haired negro janitor relates, she would creep from baby
to baby to play with it, put it to sleep, pat it, rub its stomach (a
negro baby, you know, is all stomach, and generally aching stomach at
that). And before she had a lap, she managed to force one for some
ailing nursling. It was then that they began to call her "little
Mammy." In the transitory population of the "pen" no one stayed long
enough to give her another name; and no one ever stayed short enough
to give her another one.
Her first recollection of herself was that she could not walk--she was
past crawling; she cradled herself along, as she called sitting down
flat, and working herself about with her hands and her one strong
leg. Babbling babies walked all around her,--many walking before they
babbled,--and still she did not walk, imitate them as she might and
did. She would sit and "study" about it, make another trial, fall;
sit and study some more, make another trial, fall again. Negroes, who
believe that they must give a reason for everything even if they have
to invent one, were convinced that it was all this studying upon her
lameness that gave her such a large head.
And now she began secretly turning up the clothes of every negro
child that came into that pen, and examining its legs, and still more
secretly examining her own, stretched out before her on the ground.
How long it took she does not remember; in fact, she could not have
known, for she had no way of measuring time except by her thoughts and
feelings. But in her own way and time the due process of deliberation
was fulfilled, and the quotient made clear that, bowed or not, all
children's legs were of equal length except her own, and all were
alike, not one full, strong, hard, the other soft, flabby, wrinkled,
growing out of a knot at the hip. A whole psychological period
apparently lay between that conclusion and--a broom-handle
walking-stick; but the broomstick came, as it was bound to
come,--thank heaven!--from that premise, and what with stretching one
limb to make it longer, and doubling up the other to make it shorter,
she invented that form of locomotion which is still carrying her
through life, and with no more exaggerated leg-crookedness than many
careless negroes born with straight limbs display. This must have been
when she was about eight or nine. Hobbling on a broomstick, with, no
doubt, the same weird, wizened face as now, an innate sense of the
fitness of things must have suggested the kerchief tied around her big
head, and the burlaps rag of an apron in front of her linsey-woolsey
rag of a gown, and the bit of broken pipe-stem in the corner of her
mouth, where the pipe should have been, and where it was in after
years. That is the way she recollected herself, and that is the way
one recalls her now, with a few modifications.
The others came and went, but she was always there. It wasn't long
before she became "little Mammy" to the grown folks too; and the
newest inmates soon learned to cry: "Where's little Mammy?" "Oh,
little Mammy! little Mammy! Such a misery in my head [or my back, or
my stomach]! Can't you help me, little Mammy?" It was curious what a
quick eye she had for symptoms and ailments, and what a quick ear
for suffering, and how apt she was at picking up, remembering, and
inventing remedies. It never occurred to her not to crouch at the
head or the foot of a sick pallet, day and night through. As for the
nights, she said she dared not close her eyes of nights. The room they
were in was so vast, and sometimes the negroes lay so thick on the
floor, rolled in their blankets (you know, even in the summer they
sleep under blankets), all snoring so loudly, she would never have
heard a groan or a whimper any more than they did, if she had slept,
too. And negro mothers are so careless and such heavy sleepers. All
night she would creep at regular intervals to the different pallets,
and draw the little babies from under, or away from, the heavy, inert
impending mother forms. There is no telling how many she thus saved
from being overlaid and smothered, or, what was worse, maimed and
crippled.
Whenever a physician came in, as he was sometimes called, to look at
a valuable investment or to furbish up some piece of damaged goods,
she always managed to get near to hear the directions; and she
generally was the one to apply them also, for negroes always would
steal medicines most scurvily one from the other. And when death at
times would slip into the pen, despite the trader's utmost alertness
and precautions,--as death often "had to do," little Mammy said,--when
the time of some of them came to die, and when the rest of the
negroes, with African greed of eye for the horrible, would press
around the lowly couch where the agonizing form of a slave lay
writhing out of life, she would always to the last give medicines,
and wipe the cold forehead, and soothe the clutching, fearsome hands,
hoping to the end, and trying to inspire the hope that his or her
"time" had not come yet; for, as she said, "Our time doesn't come just
as often as it does come."
And in those sad last offices, which somehow have always been under
reproach as a kind of shame, no matter how young she was, she was
always too old to have the childish avoidance of them. On the
contrary, to her a corpse was only a kind of baby, and she always
strove, she said, to make one, like the other, easy and comfortable.
And in other emergencies she divined the mysteries of the flesh, as
other precocities divine the mysteries of painting and music, and so
become child wonders.
Others came and went. She alone remained there. Babies of her
babyhood--the toddlers she, a toddler, had nursed--were having babies
themselves now; the middle-aged had had time to grow old and die.
Every week new families were coming into the great back chamber; every
week they passed out: babies, boys, girls, buxom wenches, stalwart
youths, and the middle-aged--the grave, serious ones whom misfortune
had driven from their old masters, and the ill-reputed ones, the
trickish, thievish, lazy, whom the cunning of the negro-trader alone
could keep in circulation. All were marketable, all were bought and
sold, all passed in one door and out the other--all except her, little
Mammy. As with her lameness, it took time for her to recognize, to
understand, the fact. She could study over her lameness, she could in
the dull course of time think out the broomstick way of palliation.
It would have been almost better, under the circumstances, for God to
have kept the truth from her; only--God keeps so little of the truth
from us women. It is his system.
Poor little thing! It was not now that her master _could_ not sell
her, but he _would_ not! Out of her own intelligence she had forged
her chains; the lameness was a hobble merely in comparison. She had
become too valuable to the negro-trader by her services among his
crew, and offers only solidified his determination not to sell her.
Visiting physicians, after short acquaintance with her capacities,
would offer what were called fancy prices for her. Planters who heard
of her through their purchases would come to the city purposely to
secure, at any cost, so inestimable an adjunct to their plantations.
Even ladies--refined, delicate ladies--sometimes came to the pen
personally to back money with influence. In vain. Little Mammy was
worth more to the negro-trader, simply as a kind of insurance against
accidents, than any sum, however glittering the figure, and he was no
ignorant expert in human wares. She can tell it; no one else can for
her. Remember that at times she had seen the streets outside. Remember
that she could hear of the outside world daily from the passing
chattels--of the plantations, farms, families; the green fields,
Sunday woods, running streams; the camp-meetings, corn-shuckings,
cotton-pickings, sugar-grindings; the baptisms, marriages, funerals,
prayer-meetings; the holidays and holy days. Remember that, whether
for liberty or whether for love, passion effloresces in the human
being--no matter when, where, or how--with every spring's return.
Remember that she was, even in middle age, young and vigorous. But no;
do not remember anything. There is no need to heighten the coloring.
It would be tedious to relate, although it was not tedious to hear her
relate it, the desperations and hopes of her life then. Hardly a day
passed that she did not see, looking for purchases (rummaging among
goods on a counter for bargains), some master whom she could have
loved, some mistress whom she could have adored. Always her favorite
mistresses were there--tall, delicate matrons, who came themselves,
with great fatigue, to select kindly-faced women for nurses;
languid-looking ladies with smooth hair standing out in wide
_bandeaux_ from their heads, and lace shawls dropping from their
sloping shoulders, silk dresses carelessly held up in thumb and finger
from embroidered petticoats that were spread out like tents over huge
hoops which covered whole groups of swarming piccaninnies on the dirty
floor; ladies, pale from illnesses that she might have nursed, and
over-burdened with children whom she might have reared! And not a lady
of that kind saw her face but wanted her, yearned for her, pleaded for
her, coming back secretly to slip silver, and sometimes gold, pieces
into her hand, patting her turbaned head, calling her "little Mammy"
too, instantly, by inspiration, and making the negro-trader give them,
with all sorts of assurances, the refusal of her. She had no need for
the whispered "Buy me, master!" "Buy me, mistress!" "You'll see how I
can work, master!" "You'll never be sorry, mistress!" of the others.
The negro-trader--like hangmen, negro-traders are fitted by nature for
their profession--it came into his head--he had no heart, not even a
negro-trader's heart--that it would be more judicious to seclude her
during these shopping visits, so to speak. She could not have had any
hopes then at all; it must have been all desperations.
That auction-block, that executioner's block, about which so much has
been written--Jacob's ladder, in his dream, was nothing to what that
block appeared nightly in her dreams to her; and the climbers up and
down--well, perhaps Jacob's angels were his hopes, too.
At times she determined to depreciate her usefulness, mar her value,
by renouncing her heart, denying her purpose. For days she would
tie her kerchief over her ears and eyes, and crouch in a corner,
strangling her impulses. She even malingered, refused food, became
dumb. And she might have succeeded in making herself salable through
incipient lunacy, if through no other way, had she been able to
maintain her role long enough. But some woman or baby always was
falling into some emergency of pain and illness.
How it might have ended one does not like to think. Fortunately, one
does not need to think.
There came a night. She sat alone in the vast, dark caravansary--alone
for the first time in her life. Empty rags and blankets lay strewn
over the floor, no snoring, no tossing in them more. A sacrificial
sale that day had cleared the counters. Alarm-bells rang in the
streets, but she did not know them for alarm-bells; alarm brooded in
the dim space around her, but she did not even recognize that. Her
protracted tension of heart had made her fear-blind to all but one
peradventure.
Once or twice she forgot herself, and limped over to some heap to
relieve an imaginary struggling babe or moaning sleeper. Morning came.
She had dozed. She looked to see the rag-heaps stir; they lay as still
as corpses. The alarm-bells had ceased. She looked to see a new gang
enter the far door. She listened for the gathering buzzing of voices
in the next room, around the auction-block. She waited for the trader.
She waited for the janitor. At nightfall a file of soldiers entered.
They drove her forth, ordering her in the voice, in the tone, of
the negro-trader. That was the only familiar thing in the chaos of
incomprehensibility about her. She hobbled through the auction-room.
Posters, advertisements, papers, lay on the floor, and in the
torch-light glared from the wall. Her Jacob's ladder, her
stepping-stone to her hopes, lay overturned in a corner.
You divine it. The negro-trader's trade was abolished, and he had
vanished in the din and smoke of a war which he had not been entirely
guiltless of producing, leaving little Mammy locked up behind him. Had
he forgotten her? One cannot even hope so. She hobbled out into the
street, leaning on her nine-year-old broomstick (she had grown only
slightly beyond it; could still use it by bending over it), her head
tied in a rag kerchief, a rag for a gown, a rag for an apron.
Free, she was free! But she had not hoped for freedom. The plantation,
the household, the delicate ladies, the teeming children,--broomsticks
they were in comparison to freedom, but,--that was what she had asked,
what she had prayed for. God, she said, had let her drop, just as her
mother had done. More than ever she grieved, as she crept down
the street, that she had never mounted the auctioneer's block. An
ownerless free negro! She knew no one whose duty it was to help her;
no one knew her to help her. In the whole world (it was all she had
asked) there was no white child to call her mammy, no white lackey or
gentleman (it was the extent of her dreams) beholden to her as to a
nurse. And all her innumerable black beneficiaries! Even the janitor,
whom she had tended as the others, had deserted her like his white
prototype.
She tried to find a place for herself, but she had no indorsers, no
recommenders. She dared not mention the name of the negro-trader; it
banished her not only from the households of the whites, but from
those of the genteel of her own color. And everywhere soldiers
sentineled the streets--soldiers whose tone and accent reminded her of
the negro-trader.
Her sufferings, whether imaginary or real, were sufficiently acute to
drive her into the only form of escape which once had been possible to
friendless negroes. She became a runaway. With a bundle tied to the
end of a stick over her shoulder, just as the old prints represent it,
she fled from her homelessness and loneliness, from her ignoble past,
and the heart-disappointing termination of it. Following a railroad
track, journeying afoot, sleeping by the roadside, she lived on until
she came to the one familiar landmark in life to her--a sick woman,
but a white one. And so, progressing from patient to patient (it was a
time when sick white women studded the country like mile-posts), she
arrived at a little town, a kind of a refuge for soldiers' wives and
widows. She never traveled further. She could not. Always, as in the
pen, some emergency of pain and illness held her.
That is all. She is still there. The poor, poor women of that stricken
region say that little Mammy was the only alleviation God left them
after Sheridan passed through; and the richer ones say very much the
same thing--
But one should hear her tell it herself, as has been said, on a cold,
gloomy winter day in the country, the fire glimmering on the hearth;
the overworked husband in the fields; the baby quiet at last; the
mother uneasy, restless, thought-driven; the soft black hand rubbing
backward and forward, rubbing out aches and frets and nervousness.
The eyelids droop; the firelight plays fantasies on the bed-curtains;
the ear drops words, sentences; one gets confused--one sleeps--one
dreams.
"ONE OF US"
At the first glance one might have been inclined to doubt; but at
the second anybody would have recognized her--that is, with a little
mental rehabilitation: the bright little rouge spots in the hollow of
her cheek, the eyebrows well accentuated with paint, the thin lips
rose-tinted, and the dull, straight hair frizzed and curled and
twisted and turned by that consummate rascal and artist, the official
beautifier and rectifier of stage humanity, Robert, the opera
_coiffeur_. Who in the world knows better than he the gulf between
the real and the ideal, the limitations between the natural and the
romantic?
Yes, one could see her, in that time-honored thin silk dress of hers
stiffened into brocade by buckram underneath; the high, low-necked
waist, hiding any evidences of breast, if there were such evidences to
hide, and bringing the long neck into such faulty prominence; and the
sleeves, crisp puffs of tulle divided by bands of red velvet, through
which the poor lean arm runs like a wire, stringing them together like
beads. Yes, it was she, the whilom _dugazon_ of the opera troupe.
Not that she ever was a _dugazon_, but that was what her voice once
aspired to be: a _dugazon manquée_ would better describe her.
What a ghost! But they always appeared like mere evaporations of
real women. For what woman of flesh and blood can seriously maintain
through life the rôle of sham attendant on sham sensations, and play
public celebrant of other women's loves and lovers, singing, or rather
saying, nothing more enlivening than: "Oh, madame!" and "Ah, madame!"
and "_Quelle ivresse!_" or "_Quelle horreur!_" or, in recitative,
detailing whatever dreary platitudes and inanities the librettist and
Heaven connive to put upon the tongues of confidantes and attendants?
[Illustration: "TO POSE IN ABJECT PATIENCE AND AWKWARDNESS."]
Looking at her--how it came over one! The music, the lights, the
scene; the fat soprano confiding to her the fact of the "amour
extrême" she bears for the tenor, to which she, the _dugazon_, does
not even try to listen; her eyes wandering listlessly over the
audience. The calorous secret out, and in her possession, how she
stumbles over her train to the back of the stage, there to pose in
abject patience and awkwardness, while the gallant baritone, touching
his sword, and flinging his cape over his shoulder, defies the world
and the tenor, who is just recovering from his "ut de poitrine" behind
the scenes.
She was talking to me all the time, apologizing for the intrusion,
explaining her mission, which involved a short story of her life, as
women's intrusions and missions usually do. But my thoughts, also as
usual, distracted me from listening, as so often they have distracted
me from following what was perhaps more profitable.
The composer, of course, wastes no music upon her; flinging to her
only an occasional recitative in two notes, but always ending in a
reef of a scale, trill, or roulade, for her to wreck her voice on
before the audience. The _chef d'orchestre_, if he is charitable,
starts her off with a contribution from his own lusty lungs, and then
she--oh, her voice is always thinner and more osseous than her arms,
and her smile no more graceful than her train!
As well think of the simulated trees, water-falls, and chateaux
leaving the stage, as the _dugazon_! One always imagines them singing
on into dimness, dustiness, unsteadiness, and uselessness, until, like
any other piece of stage property, they are at last put aside and
simply left there at the end of some season--there seems to be a
superstition against selling or burning useless and dilapidated stage
property. As it came to me, the idea was not an impossibility.
The last representation of the season is over. She, tired beyond
judgment--haply, beyond feeling--by her tireless rôle, sinks upon her
chair to rest in her dressing-room; sinks, further, to sleep. She has
no maid. The troupe, hurrying away to France on the special train
waiting not half a dozen blocks away, forget her--the insignificant
are so easily forgotten! The porter, more tired, perhaps, than any
one of the beautiful ideal world about him, and savoring already in
advance the good onion-flavored _grillade_ awaiting him at home, locks
up everything fast and tight; the tighter and faster for the good
fortnight's vacation he has promised himself.
No doubt if the old opera-house were ever cleaned out, just such a
heap of stiff, wire-strung bones would be found, in some such hole
as the _dugazon's_ dressing-room, desiccating away in its last
costume--perhaps in that very costume of _Inez_; and if one were
venturesome enough to pass Allhallowe'en there, the spirit of those
bones might be seen availing itself of the privilege of unasperged
corpses to roam. Not singing, not talking--it is an anachronism to say
that ghosts talk: their medium of communication must be pure thought;
and one should be able to see their thoughts working, just as one sees
the working of the digestive organs in the clear viscera of
transparent animalcule. The hard thing of it is that ghosts are
chained to the same scenes that chained their bodies, and when they
sleep-walk, so to speak, it must be through phases of former
existence. What a nightmare for them to go over once again the lived
and done, the suffered and finished! What a comfort to wake up and
find one's self dead, well dead!
I could have continued and put the whole opera troupe in "costume de
ghost," but I think it was the woman's eyes that drew me back to her
face and her story. She had a sensible face, now that I observed her
naturally, as it were; and her hands,--how I have agonized over those
hands on the stage!--all knuckles and exaggerated veins, clutching her
dress as she sang, or, petrified, outstretched to _Leonore's_ "Pourquoi
ces larmes?"--her hands were the hands of an honest, hard-working
woman who buckrams her own skirts, and at need could scrub her own
floor. Her face (my description following my wandering glance)--her
face was careworn, almost to desuetude; not dissipation-worn, as,
alas! the faces of the more gifted ladies of opera troupes too often
are. There was no fattening in it of pastry, truffles, and bonbons;
upon it none of the tracery left by nightly champagne tides and
ripples; and consequently her figure, under her plain dress, had not
that for display which the world has conventioned to call charms.
Where a window-cord would hardly have sufficed to girdle _Leonore_, a
necklace would have served her. She had not beauty enough to fear the
flattering dangers of masculine snares and temptations,--or there may
have been other reasons,--but as a wife--there was something about her
that guaranteed it--she would have blossomed love and children as a
fig-tree does figs.
In truth, she was just talking about children. The first part of her
story had passed: her birthplace, education, situation; and now she
was saying:
"I have always had the temptation, but I have always resisted it.
Now,"--with a blush at her excuse,--"it may be your spring weather,
your birds, your flowers, your sky--and your children in the streets.
The longing came over me yesterday: I thought of it on the stage,
I thought of it afterward--it was better than sleeping; and this
morning"--her eyes moistened, she breathed excitedly--"I was
determined. I gave up, I made inquiry, I was sent to you. Would it be
possible? Would there be any place" ("any rôle," she said first) "in
any of your asylums, in any of your charitable institutions, for me?
I would ask nothing but my clothes and food, and very little of that;
the recompense would be the children--the little girl children," with
a smile--can you imagine the smile of a woman dreaming of children
that might be? "Think! Never to have held a child in my arms more than
a moment, never to have felt a child's arms about my neck! Never to
have known a child! Born on a stage, my mother born on a stage!" Ah,
there were tragic possibilities in that voice and movement! "Pardon,
madam. You see how I repeat. And you must be very wearied hearing
about me. But I could be their nurse and their servant. I would bathe
and dress them, play with them, teach them their prayers; and when
they are sick they would see no difference. They would not know but
what their mother was there!"
Oh, she had her program all prepared; one could see that.
"And I would sing to them--no! no!" with a quick gesture, "nothing
from the stage; little songs and lullabys I have picked up
traveling around, and," hesitating, "little things I have composed
myself--little things that I thought children would like to hear some
day." What did she not unconsciously throw into those last words? "I
dream of it," she pursued, talking with as little regard to me as
on the stage she sang to the prima donna. "Their little arms, their
little faces, their little lips! And in an asylum there would be so
many of them! When they cried and were in trouble I would take them in
my lap, and I would say to them, with all sorts of tenderness--" She
had arranged that in her program, too--all the minutiae of what she
would say to them in their distress. But women are that way. When once
they begin to love, their hearts are magnifying-lenses for them to
feel through. "And my heart hungers to commence right here, now, at
once! It seems to me I cannot wait. Ah, madam, no more stage, no more
opera!" speaking quickly, feverishly. "As I said, it may be your
beautiful spring, your flowers, your birds, and your numbers of
children. I have always loved that place most where there are most
children; and you have more children here than I ever saw anywhere.
Children are so beautiful! It is strange, is it not, when you consider
my life and my rearing?"
Her life, her rearing, how interesting they must have been! What a
pity I had not listened more attentively!
"They say you have much to do with asylums here."
Evidently, when rôles do not exist in life for certain characters, God
has to create them. And thus He had to create a rôle in an asylum for
my friend, for so she became from the instant she spoke of children
as she did. It was the poorest and neediest of asylums; and the poor
little orphaned wretches--but it is better not to speak of them. How
can God ever expect to rear children without their mothers!
But the rôle I craved to create for my friend was far different--some
good, honest bourgeois interior, where lips are coarse and cheeks are
ruddy, and where life is composed of real scenes, set to the real
music of life, the homely successes and failures, and loves and hates,
and embraces and tears, that fill out the orchestra of the heart;
where romance and poetry abound _au naturel_; and where--yes, where
children grow as thick as nature permits: the domestic interior of the
opera porter, for instance, or the clockmaker over the way. But what
a loss the orphan-asylum would have suffered, and the dreary lacking
there would have been in the lives of the children! For there must
have been moments in the lives of the children in that asylum when
they felt, awake, as they felt in their sleep when they dreamed their
mothers were about them.
THE LITTLE CONVENT GIRL
She was coming down on the boat from Cincinnati, the little convent
girl. Two sisters had brought her aboard. They gave her in charge of
the captain, got her a state-room, saw that the new little trunk was
put into it, hung the new little satchel up on the wall, showed her
how to bolt the door at night, shook hands with her for good-by
(good-bys have really no significance for sisters), and left her
there. After a while the bells all rang, and the boat, in the awkward
elephantine fashion of boats, got into midstream. The chambermaid
found her sitting on the chair in the state-room where the sisters
had left her, and showed her how to sit on a chair in the saloon. And
there she sat until the captain came and hunted her up for supper.
She could not do anything of herself; she had to be initiated into
everything by some one else.
She was known on the boat only as "the little convent girl." Her name,
of course, was registered in the clerk's office, but on a steamboat no
one thinks of consulting the clerk's ledger. It is always the little
widow, the fat madam, the tall colonel, the parson, etc. The captain,
who pronounced by the letter, always called her the little _convent_
girl. She was the beau-ideal of the little convent girl. She never
raised her eyes except when spoken to. Of course she never spoke
first, even to the chambermaid, and when she did speak it was in the
wee, shy, furtive voice one might imagine a just-budding violet to
have; and she walked with such soft, easy, carefully calculated steps
that one naturally felt the penalties that must have secured
them--penalties dictated by a black code of deportment.
[Illustration: THE SISTERS BID HER GOOD-BY.]
She was dressed in deep mourning. Her black straw hat was trimmed with
stiff new crape, and her stiff new bombazine dress had crape collar
and cuffs. She wore her hair in two long plaits fastened around her
head tight and fast. Her hair had a strong inclination to curl, but
that had been taken out of it as austerely as the noise out of her
footfalls. Her hair was as black as her dress; her eyes, when one saw
them, seemed blacker than either, on account of the bluishness of the
white surrounding the pupil. Her eyelashes were almost as thick as the
black veil which the sisters had fastened around her hat with an extra
pin the very last thing before leaving. She had a round little face,
and a tiny pointed chin; her mouth was slightly protuberant from the
teeth, over which she tried to keep her lips well shut, the effort
giving them a pathetic little forced expression. Her complexion was
sallow, a pale sallow, the complexion of a brunette bleached in
darkened rooms. The only color about her was a blue taffeta ribbon
from which a large silver medal of the Virgin hung over the place
where a breast pin should have been. She was so little, so little,
although she was eighteen, as the sisters told the captain; otherwise
they would not have permitted her to travel all the way to New Orleans
alone.
Unless the captain or the clerk remembered to fetch her out in front,
she would sit all day in the cabin, in the same place, crocheting
lace, her spool of thread and box of patterns in her lap, on the
handkerchief spread to save her new dress. Never leaning back--oh, no!
always straight and stiff, as if the conventual back board were there
within call. She would eat only convent fare at first, notwithstanding
the importunities of the waiters, and the jocularities of the captain,
and particularly of the clerk. Every one knows the fund of humor
possessed by a steamboat clerk, and what a field for display the table
at meal-times affords. On Friday she fasted rigidly, and she never
began to eat, or finished, without a little Latin movement of the lips
and a sign of the cross. And always at six o'clock of the evening she
remembered the angelus, although there was no church bell to remind
her of it.
She was in mourning for her father, the sisters told the captain,
and she was going to New Orleans to her mother. She had not seen
her mother since she was an infant, on account of some disagreement
between the parents, in consequence of which the father had brought
her to Cincinnati, and placed her in the convent. There she had been
for twelve years, only going to her father for vacations and holidays.
So long as the father lived he would never let the child have any
communication with her mother. Now that he was dead all that was
changed, and the first thing that the girl herself wanted to do was to
go to her mother.
The mother superior had arranged it all with the mother of the girl,
who was to come personally to the boat in New Orleans, and receive her
child from the captain, presenting a letter from the mother superior,
a facsimile of which the sisters gave the captain.
It is a long voyage from Cincinnati to New Orleans, the rivers doing
their best to make it interminable, embroidering themselves _ad
libitum_ all over the country. Every five miles, and sometimes
oftener, the boat would stop to put off or take on freight, if not
both. The little convent girl, sitting in the cabin, had her
terrible frights at first from the hideous noises attendant on these
landings--the whistles, the ringings of the bells, the running to and
fro, the shouting. Every time she thought it was shipwreck, death,
judgment, purgatory; and her sins! her sins! She would drop her
crochet, and clutch her prayer-beads from her pocket, and relax the
constraint over her lips, which would go to rattling off prayers with
the velocity of a relaxed windlass. That was at first, before the
captain took to fetching her out in front to see the boat make a
landing. Then she got to liking it so much that she would stay all day
just where the captain put her, going inside only for her meals. She
forgot herself at times so much that she would draw her chair a little
closer to the railing, and put up her veil, actually, to see better.
No one ever usurped her place, quite in front, or intruded upon her
either with word or look; for every one learned to know her shyness,
and began to feel a personal interest in her, and all wanted the
little convent girl to see everything that she possibly could.
[Illustration: WATCHING A LANDING.]
And it was worth seeing--the balancing and _chasséeing_ and waltzing
of the cumbersome old boat to make a landing. It seemed to be
always attended with the difficulty and the improbability of a new
enterprise; and the relief when it did sidle up anywhere within
rope's-throw of the spot aimed at! And the roustabout throwing the
rope from the perilous end of the dangling gang-plank! And the
dangling roustabouts hanging like drops of water from it--dropping
sometimes twenty feet to the land, and not infrequently into the river
itself. And then what a rolling of barrels, and shouldering of sacks,
and singing of Jim Crow songs, and pacing of Jim Crow steps; and black
skins glistening through torn shirts, and white teeth gleaming through
red lips, and laughing, and talking and--bewildering! entrancing!
Surely the little convent girl in her convent walls never dreamed of
so much unpunished noise and movement in the world!
The first time she heard the mate--it must have been like the first
time woman ever heard man--curse and swear, she turned pale, and ran
quickly, quickly into the saloon, and--came out again? No, indeed!
not with all the soul she had to save, and all the other sins on her
conscience. She shook her head resolutely, and was not seen in her
chair on deck again until the captain not only reassured her, but
guaranteed his reassurance. And after that, whenever the boat was
about to make a landing, the mate would first glance up to the guards,
and if the little convent girl was sitting there he would change his
invective to sarcasm, and politely request the colored gentlemen not
to hurry themselves--on no account whatever; to take their time about
shoving out the plank; to send the rope ashore by post-office--write
him when it got there; begging them not to strain their backs; calling
them mister, colonel, major, general, prince, and your royal highness,
which was vastly amusing. At night, however, or when the little
convent girl was not there, language flowed in its natural curve, the
mate swearing like a pagan to make up for lost time.
The captain forgot himself one day: it was when the boat ran aground
in the most unexpected manner and place, and he went to work to
express his opinion, as only steamboat captains can, of the pilot,
mate, engineer, crew, boat, river, country, and the world in general,
ringing the bell, first to back, then to head, shouting himself
hoarser than his own whistle--when he chanced to see the little black
figure hurrying through the chaos on the deck; and the captain stuck
as fast aground in midstream as the boat had done.
In the evening the little convent girl would be taken on the upper
deck, and going up the steep stairs there was such confusion, to keep
the black skirts well over the stiff white petticoats; and, coming
down, such blushing when suspicion would cross the unprepared face
that a rim of white stocking might be visible; and the thin feet,
laced so tightly in the glossy new leather boots, would cling to each
successive step as if they could never, never make another venture;
and then one boot would (there is but that word) hesitate out, and
feel and feel around, and have such a pause of helpless agony as if
indeed the next step must have been wilfully removed, or was nowhere
to be found on the wide, wide earth.
It was a miracle that the pilot ever got her up into the pilot-house;
but pilots have a lonely time, and do not hesitate even at miracles
when there is a chance for company. He would place a box for her to
climb to the tall bench behind the wheel, and he would arrange the
cushions, and open a window here to let in air, and shut one there to
cut off a draft, as if there could be no tenderer consideration in
life for him than her comfort. And he would talk of the river to her,
explain the chart, pointing out eddies, whirlpools, shoals, depths,
new beds, old beds, cut-offs, caving banks, and making banks, as
exquisitely and respectfully as if she had been the River Commission.
It was his opinion that there was as great a river as the Mississippi
flowing directly under it--an underself of a river, as much a
counterpart of the other as the second story of a house is of the
first; in fact, he said they were navigating through the upper story.
Whirlpools were holes in the floor of the upper river, so to speak;
eddies were rifts and cracks. And deep under the earth, hurrying
toward the subterranean stream, were other streams, small and
great, but all deep, hurrying to and from that great mother-stream
underneath, just as the small and great overground streams hurry to
and from their mother Mississippi. It was almost more than the little
convent girl could take in: at least such was the expression of her
eyes; for they opened as all eyes have to open at pilot stories. And
he knew as much of astronomy as he did of hydrology, could call the
stars by name, and define the shapes of the constellations; and she,
who had studied astronomy at the convent, was charmed to find that
what she had learned was all true. It was in the pilot-house, one
night, that she forgot herself for the first time in her life, and
stayed up until after nine o'clock. Although she appeared almost
intoxicated at the wild pleasure, she was immediately overwhelmed
at the wickedness of it, and observed much more rigidity of conduct
thereafter. The engineer, the boiler-men, the firemen, the stokers,
they all knew when the little convent girl was up in the pilot-house:
the speaking-tube became so mild and gentle.
With all the delays of river and boat, however, there is an end to the
journey from Cincinnati to New Orleans. The latter city, which at one
time to the impatient seemed at the terminus of the never, began,
all of a sudden, one day to make its nearingness felt; and from that
period every other interest paled before the interest in the immanence
of arrival into port, and the whole boat was seized with a panic of
preparation, the little convent girl with the others. Although so
immaculate was she in person and effects that she might have been
struck with a landing, as some good people might be struck with death,
at any moment without fear of results, her trunk was packed and
repacked, her satchel arranged and rearranged, and, the last day, her
hair was brushed and plaited and smoothed over and over again until
the very last glimmer of a curl disappeared. Her dress was whisked,
as if for microscopic inspection; her face was washed; and her
finger-nails were scrubbed with the hard convent nail-brush, until
the disciplined little tips ached with a pristine soreness. And still
there were hours to wait, and still the boat added up delays. But she
arrived at last, after all, with not more than the usual and expected
difference between the actual and the advertised time of arrival.
There was extra blowing and extra ringing, shouting, commanding,
rushing up the gangway and rushing down the gangway. The clerks,
sitting behind tables on the first deck, were plied, in the twinkling
of an eye, with estimates, receipts, charges, countercharges, claims,
reclaims, demands, questions, accusations, threats, all at topmost
voices. None but steamboat clerks could have stood it. And there were
throngs composed of individuals every one of whom wanted to see the
captain first and at once: and those who could not get to him shouted
over the heads of the others; and as usual he lost his temper and
politeness, and began to do what he termed "hustle."
"Captain! Captain!" a voice called him to where a hand plucked his
sleeve, and a letter was thrust toward him. "The cross, and the name
of the convent." He recognized the envelop of the mother superior. He
read the duplicate of the letter given by the sisters. He looked at
the woman--the mother--casually, then again and again.
The little convent girl saw him coming, leading some one toward her.
She rose. The captain took her hand first, before the other greeting,
"Good-by, my dear," he said. He tried to add something else, but
seemed undetermined what. "Be a good little girl--" It was evidently
all he could think of. Nodding to the woman behind him, he turned on
his heel, and left.
One of the deck-hands was sent to fetch her trunk. He walked out
behind them, through the cabin, and the crowd on deck, down the
stairs, and out over the gangway. The little convent girl and her
mother went with hands tightly clasped. She did not turn her eyes to
the right or left, or once (what all passengers do) look backward at
the boat which, however slowly, had carried her surely over dangers
that she wot not of. All looked at her as she passed. All wanted to
say good-by to the little convent girl, to see the mother who had been
deprived of her so long. Some expressed surprise in a whistle; some
in other ways. All exclaimed audibly, or to themselves, "Colored!"
It takes about a month to make the round trip from New Orleans to
Cincinnati and back, counting five days' stoppage in New Orleans. It
was a month to a day when the steamboat came puffing and blowing up to
the wharf again, like a stout dowager after too long a walk; and the
same scene of confusion was enacted, as it had been enacted twelve
times a year, at almost the same wharf for twenty years; and the
same calm, a death calmness by contrast, followed as usual the next
morning.
The decks were quiet and clean; one cargo had just been delivered,
part of another stood ready on the levee to be shipped. The captain
was there waiting for his business to begin, the clerk was in his
office getting his books ready, the voice of the mate could be heard
below, mustering the old crew out and a new crew in; for if steamboat
crews have a single principle,--and there are those who deny them
any,--it is never to ship twice in succession on the same boat. It was
too early yet for any but roustabouts, marketers, and church-goers;
so early that even the river was still partly mist-covered; only in
places could the swift, dark current be seen rolling swiftly along.
"Captain!" A hand plucked at his elbow, as if not confident that the
mere calling would secure attention. The captain turned. The mother of
the little convent girl stood there, and she held the little convent
girl by the hand. "I have brought her to see you," the woman said.
"You were so kind--and she is so quiet, so still, all the time, I
thought it would do her a pleasure."
She spoke with an accent, and with embarrassment; otherwise one would
have said that she was bold and assured enough.
"She don't go nowhere, she don't do nothing but make her crochet and
her prayers, so I thought I would bring her for a little visit of 'How
d' ye do' to you."
There was, perhaps, some inflection in the woman's voice that might
have made known, or at least awakened, the suspicion of some latent
hope or intention, had the captain's ear been fine enough to detect
it. There might have been something in the little convent girl's face,
had his eye been more sensitive--trifle paler, maybe, the lips a
little tighter drawn, the blue ribbon a shade faded. He may have
noticed that, but-- And the visit of "How d' ye do" came to an end.
They walked down the stairway, the woman in front, the little convent
girl--her hand released to shake hands with the captain--following,
across the bared deck, out to the gangway, over to the middle of
it. No one was looking, no one saw more than a flutter of white
petticoats, a show of white stockings, as the little convent girl went
under the water.
The roustabout dived, as the roustabouts always do, after the
drowning, even at the risk of their good-for-nothing lives. The mate
himself jumped overboard; but she had gone down in a whirlpool.
Perhaps, as the pilot had told her whirlpools always did, it may have
carried her through to the underground river, to that vast, hidden,
dark Mississippi that flows beneath the one we see; for her body was
never found.
GRANDMOTHER'S GRANDMOTHER
As the grandmother related it fresh from the primeval sources that
feed a grandmother's memory, it happened thus:
In the early days of the settlement of Georgia--ah, how green and
rustic appears to us now the world in the early days of the settlement
of Georgia! Sometimes to women, listening to the stories of their
grandmothers, it seems better to have lived then than now--her
grandmother was at that time a young wife. It was the day of arduous,
if not of long, courtship before marriage, when every wedding
celebrated the close of an original romance; and when young couples,
for bridal trips, went out to settle new States, riding on a pillion
generally, with their trousseaux following as best they could on
sumpter mules; to hear the grandmother describe it made one long to be
a bride of those days.
The young husband had the enumeration of qualities that went to the
making of a man of that period, and if the qualities were in the
proportion of ten physical to one intellectual, it does not follow
that the grandmother's grandfather was not a man of parts. For, to
obtain the hand of his bride, an only child and an heiress, he had to
give test of his mettle by ignoring his fortune, studying law, and
getting his license before marriage, and binding himself to live the
first year afterward on the proceeds of his practice; a device of the
time thought to be a wholesome corrective of the corrupting influence
of over-wealth in young domesticities.
Although he had already chosen the sea for his profession, and was a
midshipman at the time, with more of a reputation for living than for
learning, such was he, and such, it may be said, was the incentive
genius of his choice, that almost before his resignation as midshipman
was accepted, his license as a lawyer was signed. As for practice, it
was currently remarked at his wedding, at the sight of him flying down
the room in the reel with his bride for partner, that his tongue was
as nimble as his heels, and that if he only turned his attention to
criminal practice, there was no man in the country who would make
a better prosecuting attorney for the State. And with him for
prosecuting attorney, it was warranted that sirrahs the highwaymen
would not continue to hold Georgia judge-and-jury justice in quite
such contemptible estimation, and that the gallows would not be left
so long bereft of their legitimate swingings. As for fees, it was
predicted that the young fellow as he stood, or rather "chassé'd,"
could snap his fingers at both his and his bride's trustees.
He did turn his attention to criminal law, was made prosecuting
attorney for the State in his county, and, before his six months
had passed, was convincing the hitherto high and mighty, lordly,
independent knights of the road that other counties in Georgia
furnished more secure pasturage for them.
It was a beautiful spring morning. The young wife bade him a hearty
good-by, and stood in the doorway watching him, gay and _debonair_,
riding off, on his stout black charger Beetle, in the direction of the
town in which court was to be held that week.
She herself feeling as full of ambition and work as if she also were
prosecuting attorney, with a perennial spring of eloquence bubbling in
her brain, turned to her domestic duties, and, without going into
the detail of them, it suffices to say that, according to the
grandmother's estimation, one morning's list of duties for a healthy
young bride of that period would shame the week's work of a syndicate
of them to-day. Finding herself nearing the limit of diminution of
several household necessities, and the spring suggesting the beginning
of new ones, she made up her mind to profit by her husband's absence
and the fair weather to make a trading visit to the neighboring town
next day.
[Illustration: "TURNED TO HER DOMESTIC DUTIES."]
So, early in a morning as beautiful as the preceding one, mounted on
her own stanch mare Maid Marion, she ambled down the green over-hung
forest-road, in the vista of which she had watched her husband
disappear the day before; thinking about what she had to buy, and
thinking, no doubt, much more, as brides will, of the absent lord and
master--as brides of those days loved to consider and denominate their
husbands.
Coming into the little town, the freshly painted, swinging sign-board
of the new tavern, "The Honest Georgian," as usual was the thing to
catch her eye; but the instant after what should she see but Black
Beetle hitched to the rack under the tree that shadowed the hostelry!
It was not decorous; but she was young, and the day of her first
separation from her husband had been so long; and was he not also,
against the firmest of resolutions and plans, hastening back to her,
the separation being too long for him also?
Slipping her foot from the stirrup, she jumped to the ground, and ran
into the tavern. There he stood calling hastily for a drink; and
her heart more than her eyes took in his, to her, consecrated
signalment--the riding-boots, short clothes, blue coat, cocked hat,
ruffles. She crept up behind to surprise him, her face, with its
delight and smiles, beyond her control. She crept, until she saw his
watch-fob dangling against the counter, and then her heart made a
call. He turned. He was not her husband! Another man was in her
husband's clothes, a man with a villainous countenance! With a scream
she gave the alarm. The stranger turned, dropped his drink, bounded to
the door and out, leaped to the back of Beetle, gave rein and spur,
and the black horse made good his reputation. In a second all was
hue-and-cry and pursuit. While men and horses made, for all they were
worth, down the road after Beetle, she on Maid Marion galloped for
her life in the opposite direction, the direction of the court town
whither her husband had journeyed. The mare's hide made acquaintance
with the whip that day if never before, for not even the willing Maid
Marion could keep pace with the apprehensions on her back.
Scouring with her eyes the highway ahead of her, shooting hawk's
glances into the forest on each side of her, the wife rode through
the distance all, all day, praying that the day might be long enough,
might equal the distance. The sun set, and night began to fall; but
she and Maid Marion were none the less fresh, except in the heart.
The moon rose straight before them down the road, lighting it and them
through the threatened obscurity. And so they came to trampled earth
and torn grass, and so she uncovered concealed footsteps, and so,
creeping on her hands and knees, she followed traces of blood, through
thicket and glade, into the deep forest, to a hastily piled hillock of
earth, gravel, and leaves. Burrowing with her hands, she came to it,
the naked body of her young husband, cold and stiff, foully murdered.
Maid Marion approached at her call. She wrapped him in her cloak,
and--a young wife of those times alone would do it--put him in the
saddle before her: the good mare Maid Marion alone knows the rest. In
the early gray dawn, from one highway there rode into the town the
baffled pursuers, from the other the grandmother's grandmother,
clasping the corpse of her husband with arms as stiff as his own;
loving him, so the grandmother used to say, with a love which, if ever
love could do so, would have effected a resurrection.
THE OLD LADY'S RESTORATION
The news came out in the papers that the old lady had been restored
to her fortune. She had been deprived of it so long ago that the real
manner of her dispossession had become lost, or at least hidden under
the many versions that had been invented to replace lapses of memory,
or to remedy the unpicturesqueness of the original truth. The face of
truth, like the face of many a good woman, is liable to the accident
of ugliness, and the desire to embellish one as well as the other
need not necessarily proceed from anything more harmful than an
overweighted love of the beautiful.
If the old lady had not been restored to her fortune, her _personalia_
would have remained in the oblivion which, as one might say, had
accumulated upon everything belonging to her. But after that newspaper
paragraph, there was such a flowering of memory around her name as
would have done credit to a whole cemetery on All Saints. It took
three generations to do justice to the old lady, for so long and so
slow had been her descent into poverty that a grandmother was needed
to remember her setting out upon the road to it.
She set out as most people do, well provided with money, diamonds,
pretty clothing, handsome residence, equipage, opera-box, beaus (for
she was a widow), and so many, many friends that she could never
indulge in a small party--she always had to give a grand ball
to accommodate them. She made quite an occasion of her first
reverse,--some litigation decided against her,--and said it came from
the court's' having only one ear, and that preempted by the other
party.
She always said whatever she thought, regardless of the consequences,
because she averred truth was so much more interesting than falsehood.
Nothing annoyed her more in society than to have to listen to the
compositions women make as a substitute for the original truth. It was
as if, when she went to the theater to hear Shakspere and Molière,
the actors should try to impose upon the audience by reciting lines
of their own. Truth was the wit of life and the wit of books. She
traveled her road from affluence so leisurely that nothing escaped her
eyes or her feelings, and she signaled unhesitatingly every stage in
it.
"My dear, do you know there is really such a thing as existence
without a carriage and horses?"--"I assure you it is perfectly new to
me to find that an opera-box is not a necessity. It is a luxury. In
theory one can really never tell the distinction between luxuries and
necessities."--"How absurd! At one time I thought hair was given
us only to furnish a profession to hair-dressers; just as we wear
artificial flowers to support the flower-makers."--"Upon my word,
it is not uninteresting. There is always some _haute nouveauté_ in
economy. The ways of depriving one's self are infinite. There is wine,
now."--"Not own your residence! As soon not own your tomb as your
residence! My mama used to scream that in my ears. According to her,
it was not _comme il faut_ to board or live in a rented house.
How little she knew!"
When her friends, learning her increasing difficulties, which they did
from the best authority (herself), complimented her, as they were
forced to do, upon her still handsome appearance, pretty laces,
feathers, jewelry, silks, "Fat," she would answer--"fat. I am living
off my fat, as bears do in winter. In truth, I remind myself of an
animal in more ways than one."
And so every one had something to contribute to the conversation about
her--bits which, they said, affection and admiration had kept alive in
their memory.
Each city has its own roads to certain ends, its ways of Calvary, so
to speak. In New Orleans the victim seems ever to walk down Royal
street and up Chartres, or _vice versa_. One would infer so, at least,
from the display in the shops and windows of those thorough-fares.
Old furniture, cut glass, pictures, books, jewelry, lace, china--the
fleece (sometimes the flesh still sticking to it) left on the
brambles by the driven herd. If there should some day be a trump of
resurrection for defunct fortunes, those shops would be emptied in
the same twinkling of the eye allowed to tombs for their rendition of
property.
The old lady must have made that promenade many, many times, to judge
by the samples of her "fat or fleece" displayed in the windows. She
took to hobbling, as if from tired or sore feet.
"It is nothing," in answer to an inquiry. "Made-to-order feet learning
to walk in ready-made shoes: that is all. One's feet, after all, are
the most unintelligent part of one's body." Tea was her abomination,
coffee her adoration; but she explained: "Tea, you know, is so
detestable that the very worst is hardly worse than the very best;
while coffee is so perfect that the smallest shade of impurity is not
to be tolerated. The truly economical, I observe, always drink tea."
"At one time I thought if all the luxuries of the world were exposed
to me, and but one choice allowed, I should select gloves. Believe me,
there is no superfluity in the world so easily dispensed with."
As may be supposed, her path led her farther and farther away from her
old friends. Even her intimates became scarce; so much so, that these
observations, which, of course, could be made only to intimates,
became fewer and fewer, unfortunately, for her circumstances were
becoming such that the remarks became increasingly valuable. The last
thing related of her was apropos of friends.
"My friends! My dear, I cannot tell you just so, on the spur of the
moment, but with a little reflection and calculation I could tell you,
to a picayune, the rent of every friend in the market. You can lease,
rent, or hire them, like horses, carriages, opera-boxes, servants, by
year, month, day, or hour; and the tariff is just as fixed.
"Christians! Christians are the most discreet people in the world. If
you should ask me what Christianity has most promoted in the world, I
should answer without hesitation, discretion. Of course, when I say
the world I mean society, and when I say Christianity I mean our
interpretation of it. If only duns could be pastors, and pastors duns!
But of course you do not know what duns are; they are the guardian
angels of the creditor, the pursuing fiends of the debtor."
After that, the old lady made her disappearance under the waves of
that sea into the depths of which it is very improbable that a single
friend ever attempted to pursue her. And there she remained until the
news came that she was restored to fortune.
A week passed, two weeks; no sight or sound of her. It was during this
period that her old friends were so occupied resuscitating their old
friendships for her--when all her antique sayings and doings became
current ball-room and dinner-table gossip--that she arose from her
obscurity like Cinderella from her ashes, to be decked with every gift
that fairy minds could suggest. Those who had known her intimately
made no effort to conceal their importance. Those who did not know her
personally put forward claims of inherited friendship, and those who
did not know her traditionally or otherwise--the _nouveaux riches_
and _parvenus_, who alone feel the moneyed value of such social
connections--began making their resolutions to capture her as soon as
she came in sight of society.
The old residence was to be re-bought, and refurnished from France;
the _avant scène_ at the opera had been engaged; the old cook was to
be hired back from the club at a fabulous price; the old balls and the
old dinners were to gladden the city--so said they who seemed to know.
Nothing was to be spared, nothing stinted--at her age, with no child
or relative, and life running short for pleasure. Diamonds, laces,
velvets, champagne, Château Yquem--"Grand Dieu Seigneur!" the old
Creole servants exclaimed, raising their hands at the enumeration of
it.
Where the news came from nobody knew, but everything was certified
and accepted as facts, although, as between women, the grain of salt
should have been used. Impatience waxed, until nearly every day some
one would ring the bell of the old residence, to ask when the mistress
was going to move in. And such affectionate messages! And people would
not, simply could not, be satisfied with the incomprehensible answers.
And then it leaked out. The old lady was simply waiting for everything
to arrive--furniture, toilets, carriage, etc.--to make a grand
_entrée_ into her old sphere; to come riding on a throne, as it were.
And still the time passed, and she did not come. Finally two of the
clever-heads penetrated the enigma: _mauvaise honte_, shyness--so long
out of the world, so old; perhaps not sure of her welcome. So they
determined to seek her out.
[Illustration: THE ROOM IN THE OLD GALLERY.]
"We will go to her, like children to a grandmother, etc. The others
have no delicacy of sentiment, etc. And she will thus learn who really
remember, really love her, etc."
Provided with congratulatory bouquets, they set forth. It is very hard
to find a dweller on the very sea-bottom of poverty. Perhaps that is
why the effort is so seldom made. One has to ask at grocers' shops,
groggeries, market-stalls, Chinese restaurants; interview corner
cobblers, ragpickers, gutter children. But nothing is impossible to
the determined. The two ladies overcame all obstacles, and needled
their way along, where under other circumstances they would not have
glanced, would have thought it improper to glance.
They were directed through an old, old house, out on an old, old
gallery, to a room at the very extreme end.
"Poor thing! Evidently she has not heard the good news yet. We will
be the first to communicate it," they whispered, standing before the
dilapidated, withered-looking door.
Before knocking, they listened, as it is the very wisdom of discretion
to do. There was life inside, a little kind of voice, like some one
trying to hum a song with a very cracked old throat.
The ladies opened the door. "Ah, my friend!"
"Ah, my friend!"
"Restored!"
"Restored!"
"At last!"
"At last!"
"Just the same!"
"Exactly the same!"
It was which one would get to her first with bouquet and kiss,
competition almost crowding friendship.
"The good news!"
"The good news!"
"We could not stay!"
"We had to come!"
"It has arrived at last!"
"At last it has arrived!"
The old lady was very much older, but still the same.
"You will again have a chance!"
"Restored to your friends!"
"The world!"
"Your luxuries!"
"Your comforts!"
"Comforts! Luxuries!" At last the old lady had an opportunity to slip
in a word. "And friends! You say right."
There was a pause--a pause which held not a small measure of
embarrassment. But the two visitors, although they were women of the
world, and so dreaded an embarrassment more than they did sin, had
prepared themselves even to stand this.
The old lady standing there--she was very much thinner, very much
bent, but still the same--appeared to be looking not at them, but at
their enumeration.
"Comfort!" She opened a pot bubbling on the fire. "Bouillon! A good
five-cent bouillon. Luxury!" She picked up something from a chair,
a handful of new cotton chemises. "Luxury!" She turned back her
bedspread: new cotton sheets. "Did you ever lie in your bed at night
and dream of sheets? Comfort! Luxury! I should say so! And friends! My
dear, look!" Opening her door, pointing to an opposite gallery, to
the yard, her own gallery; to the washing, ironing, sewing women, the
cobbling, chair-making, carpentering men; to the screaming, laughing,
crying, quarreling, swarming children. "Friends! All friends--friends
for fifteen years. Ah, yes, indeed! We are all glad--elated in fact.
As you say. I am restored."
The visitors simply reported that they had found the old lady, and
that she was imbecile; mind completely gone under stress of poverty
and old age. Their opinion was that she should be interdicted.
A DELICATE AFFAIR
"But what does this extraordinary display of light mean?" ejaculated
my aunt, the moment she entered the parlor from the dining-room. "It
looks like the kingdom of heaven in here! Jules! Jules!" she called,
"come and put out some of the light!"
Jules was at the front door letting in the usual Wednesday-evening
visitor, but now he came running in immediately with his own invention
in the way of a gas-stick,--a piece of broom-handle notched at the
end,--and began turning one tap after the other, until the room was
reduced to complete darkness.
"But what do you mean now, Jules?" screamed the old lady again.
"Pardon, madame," answered Jules, with dignity; "it is an accident. I
thought there was one still lighted."
"An accident! An accident! Do you think I hire you to perform
accidents for me? You are just through telling me that it was accident
made you give me both soup and gumbo for dinner today."
"But accidents can always happen, madame," persisted Jules, adhering
to his position.
The chandelier, a design of originality in its day, gave light by what
purported to be wax candles standing each in a circlet of pendent
crystals. The usual smile of ecstatic admiration spread over Jules's
features as he touched the match to the simulated wicks, and lighted
into life the rainbows in the prisms underneath. It was a smile that
did not heighten the intelligence of his features, revealing as it did
the toothless condition of his gums.
"What will madame have for her dinner tomorrow," looking benignantly
at his mistress, and still standing under his aureole.
"Do I ever give orders for one dinner, with the other one still on my
lips?"
"I only asked madame; there is no harm in asking." He walked away, his
long stiff white apron rattling like a petticoat about him. Catching
sight of the visitor still standing at the threshold: "Oh, madame,
here is Mr. Horace. Shall I let him in?"
"Idiot! Every Wednesday you ask me that question, and every Wednesday
I answer the same way. Don't you think I could tell you when not to let
him in without your asking?"
"Oh, well, madame, one never knows; it is always safe to ask."
The appearance of the gentleman started a fresh subject of excitement.
"Jules! Jules! You have left that front door unlocked again!"
"Excuse me," said Mr. Horace; "Jules did not leave the front door
unlocked. It was locked when I rang, and he locked it again most
carefully after letting me in. I have been standing outside all the
while the gas was being extinguished and relighted."
"Ah, very well, then. And what is the news?" She sank into her
arm-chair, pulled her little card-table closer, and began shuffling
the cards upon it for her game of solitaire. "I never hear any news,
you know. She [nodding toward me] goes out, but she never learns
anything. She is as stupid tonight as an empty bottle."
After a few passes her hands, which were slightly tremulous, regained
some of their wonted steadiness and brilliancy of movement, and the
cards dropped rapidly on the table. Mr. Horace, as he had got into
the habit of doing, watched her mechanically, rather absent-mindedly
retailing what he imagined would interest her, from his week's
observation and hearsay. And madame's little world revolved, complete
for her, in time, place, and personality.
It was an old-fashioned square room with long ceiling, and broad, low
windows heavily curtained with stiff silk brocade, faded by time into
mellowness. The tall white-painted mantel carried its obligation of
ornaments well: a gilt clock which under a glass case related some
brilliant poetical idyl, and told the hours only in an insignificant
aside, according to the delicate politeness of bygone French taste;
flanked by duplicate continuations of the same idyl in companion
candelabra, also under glass; Sèvres, or imitation Sèvres vases, and
a crowd of smaller objects to which age and rarity were slowly
contributing an artistic value. An oval mirror behind threw replicas
of them into another mirror, receiving in exchange the reflected
portrait of madame in her youth, and in the partial nudity in which
innocence was limned in madame's youth. There were besides mirrors on
the other three walls of the room, all hung with such careful intent
for the exercise of their vocation that the apartment, in spots,
extended indefinitely; the brilliant chandelier was thereby
quadrupled, and the furniture and ornaments multiplied everywhere
and most unexpectedly into twins and triplets, producing such
sociabilities among them, and forcing such correspondences between
inanimate objects with such hospitable insistence, that the effect was
full of gaiety and life, although the interchange in reality was the
mere repetition of one original, a kind of phonographic echo.
The portrait of monsieur, madame's handsome young husband, hung out
of the circle of radiance, in the isolation that, wherever they hang,
always seems to surround the portraits of the dead.
Old as the parlors appeared, madame antedated them by the sixteen
years she had lived before her marriage, which had been the occasion
of their furnishment. She had traveled a considerable distance over
the sands of time since the epoch commemorated by the portrait.
Indeed, it would require almost documentary evidence to prove that
she, who now was arriving at eighty, was the same Atalanta that had
started out so buoyantly at sixteen.
Instead of a cap, she wore black lace over her head, pinned with gold
brooches. Her white hair curled naturally over a low forehead. Her
complexion showed care--and powder. Her eyes were still bright, not
with the effete intelligence of old age, but with actual potency. She
wore a loose black sack flowered in purple, and over that a black lace
mantle, fastened with more gold brooches.
She played her game of solitaire rapidly, impatiently, and always won;
for she never hesitated to cheat to get out of a tight place, or
into a favorable one, cheating with the quickness of a flash, and
forgetting it the moment afterward.
Mr. Horace was as old as she, but he looked much younger, although
his dress and appearance betrayed no evidence of an effort in that
direction. Whenever his friend cheated, he would invariably call her
attention to it; and as usual she would shrug her shoulders, and say,
"Bah! lose a game for a card!" and pursue the conversation.
He happened to mention mushrooms--fresh mushrooms. She threw down
her cards before the words were out of his mouth, and began to call,
"Jules! Jules!" Mr. Horace pulled the bell-cord, but madame was
too excitable for that means of communication. She ran into the
antechamber, and put her head over the banisters, calling, "Jules!
Jules!" louder and louder. She might have heard Jules's slippered feet
running from the street into the corridor and up-stairs, had she not
been so deaf. He appeared at the door.
"But where have you been? Here I have been raising the house a
half-hour, calling you. You have been in the street. I am sure you
have been in the street."
"Madame is very much mistaken," answered Jules, with resentful
dignity. He had taken off his white apron of waiter, and was
disreputable in all the shabbiness of his attire as cook. "When madame
forbids me to go into the street, I do not go into the street. I was
in the kitchen; I had fallen asleep. What does madame desire?" smiling
benevolently.
"What is this I hear? Fresh mushrooms in the market!"
"Eh, madame?"
"Fresh mushrooms in the market, and you have not brought me any!"
"Madame, there are fresh mushrooms everywhere in the market," waving
his hand to show their universality.
"Everybody is eating them--"
"Old Pomponnette," Jules continued, "only this morning offered me a
plate, piled up high, for ten cents."
"Idiot! Why did you not buy them?"
"If madame had said so; but madame did not say so. Madame said, 'Soup,
Jules; carrots, rice,'" counting on his fingers.
"And the gumbo?"
"I have explained that that was an accident. Madame said 'Soup,'"
enumerating his menu again; "madame never once said mushrooms."
"But how could I know there were mushrooms in the market? Do I go to
market?"
"That is it!" and Jules smiled at the question thus settled.
"If you had told me there were mushrooms in the market--" pursued
madame, persisting in treating Jules as a reasonable being.
"Why did not madame ask me? If madame had asked me, surely I would
have told madame. Yesterday Caesar brought them to the door--a whole
bucketful for twenty-five cents. I had to shut the door in his face to
get rid of him," triumphantly.
"And you brought me yesterday those detestable peas!"
"Ah," shrugging his shoulders, "madame told me to buy what I saw. I
saw peas. I bought them."
"Well, understand now, once for all: whenever you see mushrooms, no
matter what I ordered, you buy them. Do you hear?"
"No, madame. Surely I cannot buy mushrooms unless madame orders them.
Madame's disposition is too quick."
"But I do order them. Stupid! I do order them. I tell you to buy them
every day."
"And if there are none in the market every day?"
"Go away! Get out of my sight! I do not want to see you. Ah, it is
unendurable! I must--I must get rid of him!" This last was not
a threat, as Jules knew only too well. It was merely a habitual
exclamation.
During the colloquy Mr. Horace, leaning back in his arm-chair, raised
his eyes, and caught the reflected portrait of madame in the mirror
before him--the reflection so much softer and prettier, so much more
ethereal, than the original painting. Indeed, seen in the mirror, that
way, the portrait was as refreshing as the most charming memory. He
pointed to it when madame, with considerable loss of temper, regained
her seat.
"It is as beautiful as the past," he explained most unnaturally, for
he and his friend had a horror of looking at the long, long past,
which could not fail to remind them of--what no one cares to
contemplate out of church. Making an effort toward some determination
which a subtle observer might have noticed weighing upon him all the
evening, he added: "And, apropos of the past--"
"_Hein_?" interrogated the old lady, impatiently, still under the
influence of her irascibility about the mushrooms.
He moved his chair closer, and bent forward, as if his communication
were to be confidential.
"Ah, bah! Speak louder!" she cried. "One would suppose you had some
secret to tell. What secrets can there be at our age?" She took up her
cards and began to play. There could be no one who bothered herself
less about the forms of politeness.
"Yes, yes," answered Mr. Horace, throwing himself back into his chair;
"what secrets can there be at our age?"
The remark seemed a pregnant one to him; he gave himself up to it. One
must evidently be the age of one's thoughts. Mr. Horace's thoughts
revealed him the old man he was. The lines in his face deepened into
wrinkles; his white mustache could not pretend to conceal his mouth,
worsened by the loss of a tooth or two; and the long, thin hand that
propped his head was crossed with blue, distended veins. "At the last
judgment"--it was a favorite quotation with him--"the book of our
conscience will be read aloud before the whole company."
But the old lady, deep in her game, paid no more heed to his quotation
than to him. He made a gesture toward her portrait.
"When that was painted, Josephine--"
Madame threw a glance after the gesture. The time was so long ago, the
mythology of Greece hardly more distant! At eighty the golden age of
youth must indeed appear an evanescent myth. Madame's ideas seemed to
take that direction.
"Ah, at that time we were all nymphs, and you all demigods."
"Demigods and nymphs, yes; but there was one among us who was a god
with you all."
The allusion--a frequent one with Mr. Horace--was to madame's husband,
who in his day, it is said, had indeed played the god in the little
Arcadia of society. She shrugged her shoulders. The truth is so little
of a compliment The old gentleman sighed in an abstracted way, and
madame, although apparently absorbed in her game, lent her ear. It is
safe to say that a woman is never too old to hear a sigh wafted in her
direction.
"Josephine, do you remember--in your memory--"
She pretended not to hear. Remember? Who ever heard of her forgetting?
But she was not the woman to say, at a moment's notice, what she
remembered or what she forgot.
"A woman's memory! When I think of a woman's memory--in fact, I do not
like to think of a woman's memory. One can intrude in imagination into
many places; but a woman's memory--"
Mr. Horace seemed to lose his thread. It had been said of him in
his youth that he wrote poetry--and it was said against him. It was
evidently such lapses as these that had given rise to the accusation.
And as there was no one less impatient under sentiment or poetry
than madame, her feet began to agitate themselves as if Jules were
perorating some of his culinary inanities before her.
"And a man's memory!" totally misunderstanding him. "It is not there
that I either would penetrate, my friend. A man--"
When madame began to talk about men she was prompted by imagination
just as much as was Mr. Horace when he talked about women. But what a
difference in their sentiments! And yet he had received so little, and
she so much, from the subjects of their inspiration. But that seems to
be the way in life--or in imagination.
"That you should"--he paused with the curious shyness of the old
before the word "love"--"that you two should--marry--seemed natural,
inevitable, at the time."
Tradition records exactly the same comment by society at the time on
the marriage in question. Society is ever fatalistic in its comments.
"But the natural--the inevitable--do we not sometimes, I wonder,
perform them as Jules does his accidents?"
"Ah, do not talk about that idiot! An idiot born and bred! I won't
have him about me! He is a monstrosity! I tell his grandmother that
every day when she comes to comb me. What a farce--what a ridiculous
farce comfortable existence has become with us! Fresh mushrooms in
market, and bring me carrots!"
The old gentleman, partly from long knowledge of her habit, or from an
equally persistent bend of his own, quietly held on to his idea.
"One cannot tell. It seems so at the time. We like to think it so; it
makes it easier. And yet, looking back on our future as we once looked
forward to it--"
"Eh! but who wants to look back on it, my friend? Who in the world
wants to look back on it?" One could not doubt madame's energy of
opinion on that question to hear her voice. "We have done our future,
we have performed it, if you will. Our future! It is like the dinners
we have eaten; of course we cannot remember the good without becoming
exasperated over the bad: but"--shrugging her shoulders--"since we
cannot beat the cooks, we must submit to fate," forcing a queen that
she needed at the critical point of her game.
"At sixteen and twenty-one it is hard to realize that one is arranging
one's life to last until sixty, seventy, forever," correcting himself
as he thought of his friend, the dead husband. If madame had ever
possessed the art of self-control, it was many a long day since she
had exercised it; now she frankly began to show ennui.
"When I look back to that time,"--Mr. Horace leaned back in his chair
and half closed his eyes, perhaps to avoid the expression of her
face,--"I see nothing but lights and flowers, I hear nothing but music
and laughter; and all--lights and flowers and music and laughter--seem
to meet in this room, where we met so often to arrange
our--inevitabilities." The word appeared to attract him.
"Josephine,"--with a sudden change of voice and manner,--"Josephine,
how beautiful you were!"
The old lady nodded her head without looking from her cards.
"They used to say," with sad conviction of the truth of his
testimony--"the men used to say that your beauty was irresistible.
None ever withstood you. None ever could."
That, after all, was Mr. Horace's great charm with madame; he was so
faithful to the illusions of his youth. As he looked now at her, one
could almost feel the irresistibility of which he spoke.
"It was only their excuse, perhaps; we could not tell at the time; we
cannot tell even now when we think about it. They said then, talking
as men talk over such things, that you were the only one who could
remain yourself under the circumstances; you were the only one who
could know, who could will, under the circumstances. It was their
theory; men can have only theories about such things." His voice
dropped, and he seemed to drop too, into some abysm of thought.
Madame looked into the mirror, where she could see the face of the one
who alone could retain her presence of mind under the circumstances
suggested by Mr. Horace. She could also have seen, had she wished it,
among the reflected bric-a-brac of the mantel, the corner of the frame
that held the picture of her husband, but peradventure, classing it
with the past which held so many unavenged bad dinners, she never
thought to link it even by a look with her emotions of the present.
Indeed, it had been said of her that in past, present, and future
there had ever been but the one picture to interest her eyes--the
one she was looking at now. This, however, was the remark of the
uninitiated, for the true passion of a beautiful woman is never so
much for her beauty as for its booty; as the passion of a gamester is
for his game, not for his luck.
"How beautiful _she_ was!"
It was apparently down in the depths of his abysm that he found the
connection between this phrase and his last, and it was evidently to
himself he said it. Madame, however, heard and understood too; in
fact, traced back to a certain period, her thoughts and Mr. Horace's
must have been fed by pretty much the same subjects. But she had
so carefully barricaded certain issues in her memory as almost to
obstruct their flow into her life; if she were a cook, one would
say that it was her bad dinners which she was trying to keep out of
remembrance.
"You there, he there, she there, I there." He pointed to the places on
the carpet, under the chandelier; he could have touched them with a
walking-stick, and the recollection seemed just as close.
"She was, in truth, what we men called her then; it was her eyes
that first suggested it--Myosotis, the little blue flower, the
for-get-me-not. It suited her better than her own name. We always
called her that among ourselves. How beautiful she was!" He leaned his
head on his hand and looked where he had seen her last--so long, such
an eternity, ago.
It must be explained for the benefit of those who do not live in the
little world where an allusion is all that is necessary to put one in
full possession of any drama, domestic or social, that Mr. Horace was
speaking of the wedding-night of madame, when the bridal party stood
as he described under the chandelier; the bride and groom, with each
one's best friend. It may be said that it was the last night or time
that madame had a best friend of her own sex. Social gossip, with
characteristic kindness, had furnished reasons to suit all tastes, why
madame had ceased that night to have a best friend of her own sex. If
gossip had not done so, society would still be left to its imagination
for information, for madame never tolerated the smallest appeal to her
for enlightenment. What the general taste seemed most to relish as a
version was that madame in her marriage had triumphed, not conquered;
and that the night of her wedding she had realized the fact, and, to
be frank, had realized it ever since. In short, madame had played then
to gain at love, as she played now to gain at solitaire; and hearts
were no more than cards to her--and, "Bah! Lose a game for a card!"
must have been always her motto. It is hard to explain it delicately
enough, for these are the most delicate affairs in life; but the image
of Myosotis had passed through monsieur's heart, and Myosotis does
mean "forget me not." And madame well knew that to love monsieur once
was to love him always, in spite of jealousy, doubt, distrust, nay,
unhappiness (for to love him meant all this and more). He was that
kind of man, they said, whom women could love even against conscience.
Madame never forgave that moment. Her friend, at least, she could put
aside out of her intercourse; unfortunately, we cannot put people out
of our lives. God alone can do that, and so far he had interfered in
the matter only by removing monsieur. It was known to notoriety that
since her wedding madame had abandoned, destroyed, all knowledge of
her friend. And the friend? She had disappeared as much as is possible
for one in her position and with her duties.
"What there is in blue eyes, light hair, and a fragile form to impress
one, I cannot tell; but for us men it seems to me it is blue-eyed,
light-haired, and fragile-formed women that are the hardest to
forget."
"The less easy to forget," corrected madam. He paid no attention
to the remark.
"They are the women that attach themselves in one's memory. If
necessary to keep from being forgotten, they come back into one's
dreams. And as life rolls on, one wonders about them,--'Is she happy?
Is she miserable? Goes life well or ill with her?'"
Madame played her cards slowly, one would say, for her, prosaically.
"And there is always a pang when, as one is so wondering, the response
comes,--that is, the certainty in one's heart responds,--'She is
miserable, and life goes ill with her.' Then, if ever, men envy the
power of God."
Madame threw over the game she was in, and began a new one.
"Such women should not be unhappy; they are too fragile, too
sensitive, too trusting. I could never understand the infliction
of misery upon them. I could send death to them, but not--not
misfortune."
Madame, forgetting again to cheat in time, and losing her game, began
impatiently to shuffle her cards for a new deal.
"And yet, do you know, Josephine, those women are the unhappy ones of
life. They seem predestined to it, as others"--looking at madame's
full-charmed portrait--"are predestined to triumph and victory.
They"--unconscious, in his abstraction, of the personal nature of his
simile--"never know how to handle their cards, and they always play a
losing game."
"Ha!" came from madame, startled into an irate ejaculation.
"It is their love always that is sacrificed, their hearts always that
are bruised. One might say that God himself favors the black-haired
ones!"
As his voice sank lower and lower, the room seemed to become stiller
and stiller. A passing vehicle in the street, however, now and then
drew a shiver of sound from the pendent prisms of the chandelier.
"She was so slight, so fragile, and always in white, with blue in her
hair to match her eyes--and--God knows what in her heart, all the
time. And yet they stand it, they bear it, they do not die, they live
along with the strongest, the happiest, the most fortunate of us,"
bitterly; "and"--raising his eyes to his old friend, who thereupon
immediately began to fumble her cards--"whenever in the street I see
a poor, bent, broken woman's figure, I know, without verifying it
any more by a glance, that it is the wreck of a fair woman's figure;
whenever I hear of a bent, broken existence, I know, without asking
any more, that it is the wreck of a fair woman's life."
Poor Mr. Horace spoke with the unreason of a superstitious bigot.
"I have often thought, since, in large assemblies, particularly in
weddings, Josephine, of what was going on in the women's hearts there,
and I have felt sorry for them; and when I think of God's knowing what
is in their hearts, I have felt sorry for the men. And I often think
now, Josephine,--think oftener and oftener of it,--that if the
resurrection trumpet of our childhood should sound some day, no matter
when, out there, over the old St. Louis cemetery, and we should all
have to rise from our long rest of oblivion, what would be the first
thing we should do? And though there were a God and a heaven awaiting
us,--by that same God, Josephine, I believe that our first thought in
awakening would be the last in dying,--confession,--and that our first
rush would be to the feet of one another for forgiveness. For there
are some offenses that must outlast the longest oblivion, and a
forgiveness that will be more necessary than God's own. Then our
hearts will be bared to one another; for if, as you say, there are
no secrets at our age, there can still be less cause for them after
death."
His voice ended in the faintest whisper. The table crashed over, and
the cards flew wide-spread on the floor. Before we could recover,
madame was in the antechamber, screaming for Jules.
One would have said that, from her face, the old lady had witnessed
the resurrection described by Mr. Horace, the rush of the spirits with
their burdens of remorse, the one to the feet of the other; and she
must have seen herself and her husband, with a unanimity of purpose
never apparent in their short married life, rising from their common
tomb and hastening to that other tomb at the end of the alley, and
falling at the feet of the one to whom in life he had been recreant in
love, she in friendship.
Of course Jules answered through the wrong door, rushing in with his
gas-stick, and turning off the gas. In a moment we were involved in
darkness and dispute.
"But what does he mean? What does the idiot mean? He--" It was
impossible for her to find a word to do justice to him and to her
exasperation at the same time.
"Pardon, madame; it is not I. It is the cathedral bell; it is ringing
nine o'clock."
"But--"
"Madame can hear it herself. Listen!" We could not see it, but we were
conscious of the benign, toothless smile spreading over his face as
the bell-tones fell in the room.
"But it is not the gas. I--"
"Pardon, madame; but it is the gas. Madame said, 'Jules, put out the
gas every night when the bell rings.' Madame told me that only last
night. The bell rings: I put out the gas."
"Will you be silent? Will you listen?"
"If madame wishes; just as madame says."
But the old lady had turned to Mr. Horace. "Horace, you have seen--you
know--" and it was a question now of overcoming emotion. "I--I--I--a
carriage, my friend, a carriage."
"Madame--" Jules interrupted his smile to interrupt her.
She was walking around the room, picking up a shawl here, a lace
there; for she was always prepared against draughts.
"Madame--" continued Jules, pursuing her.
"A carriage."
"If madame would only listen, I was going to say--but madame is too
quick in her disposition--the carriage has been waiting since a long
hour ago. Mr. Horace said to have it there in a half hour."
It was then she saw for the first time that it had all been prepared
by Mr. Horace. The rest was easy enough: getting into the carriage,
and finding the place of which Mr. Horace had heard, as he said, only
that afternoon. In it, on her bed of illness, poverty, and suffering,
lay the patient, wasted form of the beautiful fair one whom men had
called in her youth Myosotis.
But she did not call her Myosotis.
"_Mon Amour!_" The old pet name, although it had to be fetched across
more than half a century of disuse, flashed like lightning from
madame's heart into the dim chamber.
"_Ma Divine!_" came in counter-flash from the curtained bed.
In the old days women, or at least young girls, could hazard such pet
names one upon the other. These--think of it!--dated from the first
communion class, the dating period of so much of friendship.
"My poor Amour!"
"My poor, poor Divine!"
The voices were together, close beside the pillow.
"I--I--" began Divine.
"It could not have happened if God had not wished it," interrupted
poor Amour, with the resignation that comes, alas! only with the last
drop of the bitter cup.
And that was about all. If Mr. Horace had not slipped away, he might
have noticed the curious absence of monsieur's name, and of his own
name, in the murmuring that followed. It would have given him some
more ideas on the subject of woman.
At any rate, the good God must thank him for having one affair the
less to arrange when the trumpet sounds out there over the old St.
Louis cemetery. And he was none too premature; for the old St. Louis
cemetery, as was shortly enough proved, was a near reach for all three
of the old friends.
PUPASSE
Every day, every day, it was the same overture in Madame Joubert's
room in the Institute St. Denis; the strident:
"Mesdemoiselles; à vos places! Notre Père qui est dans le ciel--Qui a
fait ce bruit?"
"It's Pupasse, madame! It's Pupasse!" The answer invariably was
unanimous.
"But, Madame Joubert,--I assure you, Madame Joubert,--I could not help
it! They know I could not help it!"
By this time the fresh new fool's cap made from yesterday's "Bee"
would have been pinned on her head.
"Quelle injustice! Quelle injustice!"
This last apostrophe in a high, whining nasal voice, always procured
Pupasse's elevation on the tall three-legged stool in the corner.
It was a theory of the little girls in the primary class that Madame
Joubert would be much more lenient to their own little inevitabilities
of bad conduct and lessons if Pupasse did not invariably comb her
the wrong way every morning after prayers, by dropping something,
or sniffling, or sneezing. Therefore, while they distractedly got
together books, slates, and copy-books, their infantile eyes found
time to dart deadly reproaches toward the corner of penitence, and
their little lips, still shaped from their first nourishment, pouted
anything but sympathy for the occupant of it.
Indeed, it would have been a most startling unreality to have ever
entered Madame Joubert's room and not seen Pupasse in that corner, on
that stool, her tall figure shooting up like a post, until her tall,
pointed _bonnet d' âne_ came within an inch or two of the ceiling.
It was her hoop-skirt that best testified to her height. It was the
period of those funnel-shaped hoop-skirts that spread out with such
nice mathematical proportions, from the waist down, that it seemed
they must have emanated from the brains of astronomers, like the
orbits, and diameters, and other things belonging to the heavenly
bodies. Pupasse could not have come within three feet of the wall with
her hoop-skirt distended. To have forced matters was not to be thought
of an instant. So even in her greatest grief and indignation, she had
to pause before the three-legged black stool, and gather up steel
after steel of her circumference in her hands behind, until her calico
skirt careened and flattened; and so she could manage to accommodate
herself to the limited space of her punishment, the circles drooping
far over her feet as she stood there, looking like the costumed stick
of a baby's rattle.
Her thinness continued into her face, which, unfortunately, had
nothing in the way of toilet to assist it. Two little black eyes fixed
in the sides of a mere fence of a nose, and a mouth with the shape and
expression of all mouths made to go over sharp-pointed teeth planted
very far apart; the smallest amount possible of fine, dry, black
hair--a perfect rat-tail when it was plaited in one, as almost all
wore their hair. But sometimes Pupasse took it into her head to plait
it in two braids, as none but the thick-haired ventured to wear it.
As the little girls said, it was a petition to Heaven for "eau
Quinquina." When Marcelite, the hair-dresser, came at her regular
periods to visit the hair of the boarders, she would make an effort
with Pupasse, plaiting her hundred hairs in a ten-strand braid. The
effect was a half yard of black worsted galloon; nothing more, or
better. Had Pupasse possessed as many heads as the hydra, she could
have "coiffe'd" them all with fools' caps during one morning's
recitations. She entirely monopolized the "Daily Bee." Madame Joubert
was forced to borrow from "madame" the stale weekly "Courrier des
Etats-Unis" for the rest of the room. From grammar, through sacred
history, arithmetic, geography, mythology, down to dictation, Pupasse
could pile up an accumulation of penitences that would have tasked the
limits of the current day had not recreation been wisely set as a term
which disbarred, by proscription, previous offenses. But even after
recreation, with that day's lessons safely out, punished and expiated,
Pupasse's doom seemed scarcely lightened; there was still a whole
criminal code of conduct to infract. The only difference was that
instead of books, slates, or copy-books, leathern medals, bearing
various legends and mottos, were hung around her neck--a travestied
decoration worse than the books for humiliation.
The "abécédaires," their torment for the day over, thankful for any
distraction from the next day's lessons, and eager for any relief
from the intolerable ennui of goodness, were thankful enough now for
Pupasse. They naturally watched her in preference to Madame Joubert,
holding their books and slates quite cunningly to hide their faces.
Pupasse had not only the genius, but that which sometimes fails
genius, the means for grimacing: little eyes, long nose, foolish
mouth, and pointed tongue. And she was so amusing, when Madame
Joubert's head was turned, that the little girls, being young and
innocent, would forget themselves and all burst out laughing. It
sounded like a flight of singing birds through the hot, close, stupid
little room; but not so to Madame Joubert.
"Young ladies! But what does this mean?"
And, terror-stricken, the innocents would call out with one voice,
"It's Pupasse, madame! It's Pupasse who made us laugh!" There was
nothing but fools' caps to be gained by prevaricating, and there was
frequently nothing less gained by confession. And oh, the wails and
the sobs as the innocents would be stood up, one by one, in their
places! Even the pigtails at the backs of their little heads were
convulsed with grief. Oh, how they hated Pupasse then! When their
_bonnes_ came for them at three o'clock,--washing their tear-stained
faces at the cistern before daring to take them through the
streets,--how passionately they would cry out, the tears breaking
afresh into the wet handkerchiefs:
"It's that Pupasse! It's that _vilaine_ Pupasse!"
To Pupasse herself would be meted out that "peine forte et dure," that
acme of humiliation and disgrace, so intensely horrible that many a
little girl in that room solemnly averred and believed she would kill
herself before submitting to it. Pupasse's voluminous calico skirt
would be gathered up by the hem and tied up over her head! Oh, the
horrible monstrosity on the stool in the corner then! There were no
eyes in that room that had any desire to look upon it. And the cries
and the "Quelle injustice!" that fell on the ears then from the hidden
feelings had all the weirdness of the unseen, but heard. And all the
other girls in the room, in fear and trembling, would begin to move
their lips in a perfect whirlwind of study, or write violently
on their slates, or begin at that very instant to rule off their
copy-books for the next day's verb.
Pupasse--her name was Marie Pupasse but no one thought of calling
her anything but Pupasse, with emphasis on the first syllable and
sibilance on the last--had no parents only a grandmother, to describe
whom, all that is necessary to say is that she was as short as Pupasse
was tall, and that her face resembled nothing so much as a little
yellow apple shriveling from decay. The old lady came but once a week,
to fetch Pupasse fresh clothes, and a great brown paper bag of nice
things to eat. There was no boarder in the school who received
handsomer bags of cake and fruit than Pupasse. And although, not two
hours before, a girl might have been foremost in the shrill cry, "It
is Pupasse who made the noise! It is Pupasse who made me laugh!" there
was nothing in that paper bag reserved even from such a one. When the
girl herself with native delicacy would, under the circumstances,
judge it discreet to refuse, Pupasse would plead, "Oh, but take it to
give me pleasure!" And if still the refusal continued, Pupasse would
take her bag and go into the summer-house in the corner of the garden,
and cry until the unforgiving one would relent. But the first offering
of the bag was invariably to the stern dispenser of fools' caps and
the unnamed humiliation of the reversed skirt: Madame Joubert.
Pupasse was in the fifth class. The sixth--the abécédaires--was
the lowest in the school. Green was the color of the fifth;
white--innocence--of the abécédaires. Exhibition after exhibition, the
same green sash and green ribbons appeared on Pupasse's white muslin,
the white muslin getting longer and longer every year, trying to keep
up with her phenomenal growth; and always, from all over the room,
buzzed the audience's suppressed merriment at Pupasse's appearance
in the ranks of the little ones of nine and ten. It was that very
merriment that brought about the greatest change in the Institute
St. Denis. The sitting order of the classes was reversed. The first
class--the graduates--went up to the top step of the _estrade_; and
the little ones put on the lowest, behind the pianos. The graduates
grumbled that it was not _comme il faut_ to have young ladies of their
position stepping like camels up and down those great steps; and the
little girls said it was a shame to hide them behind the pianos after
their mamas had taken so much pains to make them look pretty. But
madame said--going also to natural history for her comparison--that
one must be a rhinoceros to continue the former routine.
Religion cannot be kept waiting forever on the intelligence. It was
always in the fourth class that the first communion was made; that is,
when the girls stayed one year in each class. But Pupasse had spent
three years in the sixth class, and had already been four in
the fifth, and Madame Joubert felt that longer delay would be
disrespectful to the good Lord. It was true that Pupasse could not
yet distinguish the ten commandments from the seven capital sins, and
still would answer that Jeanne d'Arc was the foundress of the "Little
Sisters of the Poor." But, as Madame Joubert always said in the little
address she made to the catechism class every year before handing it
over to Father Dolomier, God judged from the heart, and not from the
mind.
Father Dolomier--from his face he would have been an able contestant
of _bonnets d'âne_ with Pupasse, if subjected to Madame Joubert's
discipline--evidently had the same method of judging as God, although
the catechism class said they could dance a waltz on the end of his
long nose without his perceiving it.
There is always a little air of mystery about the first communion: not
that there is any in reality, but the little ones assume it to render
themselves important. The going to early mass, the holding their
dog-eared catechisms as if they were relics, the instruction from the
priest, even if he were only old Father Dolomier--it all put such a
little air of devotion into their faces that it imposed (as it did
every year) upon their companions, which was a vastly gratifying
effect. No matter how young and innocent she may be, a woman's
devotion always seems to have two aims--God and her own sex.
The week of retreat came. Oh, the week of retreat! That was the _bonne
bouche_ of it all, for themselves and for the others. It was the same
every year. By the time the week of retreat arrived, interest and
mystery had been frothed to the point of indiscretion; so that the
little girls would stand on tiptoe to peep through the shutters at the
postulants inside, and even the larger girls, to whom first communion
was a thing of an infantile past, would condescend to listen to their
reports with ill-feigned indifference.
As the day of the first communion neared, the day of the general
confession naturally neared too, leading it. And then the little
girls, peeping through the shutters, and holding their breath to see
better, saw what they beheld every year; but it was always new and
awesome--mysterious scribbling in corners with lead-pencils on scraps
of paper; consultations; rewritings; copyings; the list of their sins,
of all the sins of their lives.
"_Ma chère!_"--pigtails and sunbonnets hiving outside would shudder.
"Oh, _Mon Dieu!_ To have to confess all--but _all_ your sins! As for
me, it would kill me, sure!"
And the frightful recoils of their consciences would make all
instantly blanch and cross themselves.
"And look at Pupasse's sins! Oh, but they are long! _Ma chère_, but
look! But look, I ask you, at them!"
The longest record was of course the most complimentary and honorable
to the possessor, as each girl naturally worked not only for
absolution but for fame.
Between catechisms and instructions Madame Joubert would have "La Vie
des Saints" read aloud, to stimulate their piety and to engage their
thoughts; for the thoughts of first communicants are worse than flies
for buzzing around the forbidden. The lecture must have been a great
quickener of conscience; for they would dare punishment and cheat
Madame Joubert, under her own eyes, in order surreptitiously to add a
new sin to their list. Of course the one hour's recreation could not
afford time enough for observation now, and the little girls were
driven to all sorts of excuses to get out of the classroom for one
moment's peep through the shutters; at which whole swarms of them
would sometimes be caught and sent into punishment.
Only two days more. Madame Joubert put them through the rehearsal,
a most important part of the preparation, almost as important as
catechism--how to enter the church, how to hold the candle, how to
advance, how to kneel, retire--everything, in fact.
Only one day more, the quietest, most devotional day of all. Pupasse
lost her sins!
Of course every year the same accident happened to some one. But it
was a new accident to Pupasse. And such a long list!
The commotion inside that retreat! Pupasse's nasal whine, carrying her
lament without any mystery to the outside garden. Such searching of
pockets, rummaging of corners, microscopic examination of the floor!
Such crimination and recrimination, protestation, asseveration,
assurances, backed by divine and saintly invocations! Pupasse accused
companion after companion of filching her sins, which each after
each would violently deny, producing each her own list from her own
pocket,--proof to conviction of innocence, and, we may say, of guilt
also.
Pupasse declared they had niched it to copy, because her list was the
longest and most complete. She could not go to confession without her
sins; she could not go to communion without confession. The tears
rolled down her long thin nose unchecked, for she never could remember
to use her handkerchief until reminded by Madame Joubert.
She had committed it to memory, as all the others had done theirs;
but how was she to know without the list if she had not forgotten
something? And to forget one thing in a general confession they knew
was a mortal sin.
"I shall tell Madame Joubert! I shall tell Madame Joubert!"
"_Ma chère_!'" whispered the little ones outside. "Oh, but look at
them! _Elles font les quatre cents coups_!" which is equivalent to
"cutting up like the mischief."
And with reason. As if such an influx of the world upon them at this
moment were not sufficient of itself to damn them. But to tell Madame
Joubert! With all their dresses made and ready, wreaths, veils,
candles, prayer-books, picture-cards, mother-of-pearl prayer-beads,
and festival breakfasts with admiring family and friends prepared.
Tell Madame Joubert! She would simply cancel it all. In a body they
chorused:
"But, Pupasse!"
"_Chère_ Pupasse!"
"_Voyons_, Pupasse!"
"I assure you, Pupasse!"
"On the cross, Pupasse!"
"Ah, Pupasse!"
"We implore you, Pupasse!"
The only response--tears, and "I shall tell Madame Joubert."
Consultations, caucuses, individual appeals, general outbursts.
Pupasse stood in the corner. Curiously, she always sought refuge in
the very sanctum of punishment, her face hidden in her bended arms,
her hoops standing out behind, vouchsafing nothing but tears, and the
promise to tell Madame Joubert. And three o'clock approaching! And
Madame Joubert imminent! But Pupasse really could not go to confession
without her sins. They all recognized that; they were reasonable, as
they assured her.
A crisis quickens the wits. They heard the cathedral clock strike the
quarter to three. They whispered, suggested, argued--bunched in the
farthest corner from Pupasse.
"Console yourself, Pupasse! We will help you, Pupasse! Say no more
about it! We will help you!"
A delegate was sent to say that. She was only four feet and a half
high, and had to stand on tiptoe to pluck the six-foot Pupasse's dress
to gain her attention.
And they did help her generously. A new sheet of fool's-cap was
procured, and torn in two, lengthwise, and pinned in a long strip. One
by one, each little girl took it, and, retiring as far as possible,
would put her hand into her pocket, and, extracting her list, would
copy it in full on the new paper. Then she would fold it down, and
give it to the next one, until all had written.
"Here, Pupasse; here are all our sins. We give them to you; you can
have them."
Pupasse was radiant; she was more than delighted, and the more she
read the better pleased she was. Such a handsome long list, and so
many sins she had never thought of--never dreamed of! She set herself
with zeal to commit them to memory. But a hand on the door--Madame
Joubert! You never could have told that those little girls had not
been sitting during the whole time, with their hands clasped and eyes
cast up to the ceiling, or moving their lips as the prayer-beads
glided through their fingers. Their versatility was really marvelous.
[Illustration: THE FIRST COMMUNION.]
Poor Pupasse! God solved the dilemma of her education, and madame's
increasing sensitiveness about her appearance in the fifth class, by
the death of the old grandmother. She went home to the funeral, and
never returned--or at least she returned, but only for madame. There
was a little scene in the parlor: Pupasse, all dressed in black, with
her bag of primary books in her hand, ready and eager to get back to
her classes and fools' caps; madame, hesitating between her interests
and her fear of ridicule; Madame Joubert, between her loyalty to
school and her conscience. Pupasse the only one free and untrammeled,
simple and direct.
That little school parlor had been the stage for so many scenes!
Madame Joubert detested acting--the comedy, as she called it. There
was nothing she punished with more pleasure up in her room. And
yet--
"Pupasse, _ma fille_, give me your grammar."
The old battered, primitive book was gotten out of the bag, the string
still tied between the leaves for convenience in hanging around the
neck.
"Your last punishment: the rule for irregular verbs. Commence!"
"I know it, Madame Joubert; I know it perfectly, I assure you."
"Commence!"
"Irregular verbs--but I assure you I know it--I know it by heart--"
"Commence, _ma fille!_"
"Irregular verbs--irregular verbs--I know it, Madame Joubert--one
moment--" and she shook her right hand, as girls do to get
inspiration, they say. "Irregular verbs--give me one word, Madame
Joubert; only one word!"
"That--"
"Irregular verbs, that--irregular verbs, that--"
"See here, Pupasse; you do not know that lesson any more than a cat
does"--Madame Joubert's favorite comparison.
"Yes, I do, Madame Joubert! Yes, I do!"
"Silence!"
"But, Madame Joubert--"
"Will you be silent!"
"Yes, Madame Joubert; only--"
"Pupasse, one more word--and--" Madame Joubert was forgetting her
comedy--"Listen, Pupasse, and obey! You go home and learn that lesson.
When you know it, you can reënter your class. That is the punishment I
have thought of to correct your 'want of attention.'"
That was the way Madame Joubert put it--"want of attention."
Pupasse looked at her--at madame, a silent but potent spectator. To
be sent from home because she did not know the rule of the irregular
verbs! To be sent from home, family, friends!--for that was the
way Pupasse put it. She had been in that school--it may only be
whispered--fifteen years. Madame Joubert knew it; so did madame,
although they accounted for only four or five years in each class.
That school was her home; Madame Joubert--God help her!--her mother;
madame, her divinity; fools' caps and turned-up skirts, her life.
The old grandmother--she it was who had done everything for her (a
_ci-devant_ rag-picker, they say); she it was who was nothing to her.
Madame must have felt something of it besides the loss of the
handsome salary for years from the little old withered woman.
But conventionality is inexorable; and the St. Denis's great
recommendation was its conventionality. Madame Joubert must have felt
something of it,--she must have felt something of it,--for why should
she volunteer? Certainly madame could not have imposed _that_ upon
_her. It must_ have been an inspiration of the moment, or a movement,
a _tressaillement_, of the heart.
"Listen, Pupasse, my child. Go home, study your lesson well. I shall
come every evening myself and hear it; and as soon as you know it, I
shall fetch you back myself. You know I always keep my word."
Keep her word! That she did. Could the inanimate past testify, what a
fluttering of fools' caps in that parlor--"Daily Bees," and "Weekly
Couriers," by the year-full!
What could Pupasse say or do? It settled the question, as Madame
Joubert assured madame, when the tall, thin black figure with the bag
of books disappeared through the gate.
Madame Joubert was never known to break her word; that is all one
knows about her part of the bargain.
One day, not three years ago, ringing a bell to inquire for a servant,
a familiar murmuring fell upon the ear, and an old abécédaire's eyes
could not resist the temptation to look through the shutters. There
sat Pupasse; there was her old grammar; there were both fingers
stopping her ears--as all studious girls do, or used to do; and there
sounded the old words composing the rule for irregular verbs.
And you all remember how long it is since we wore funnel-shaped
hoop-skirts!
End of the Project Gutenberg EBook of Balcony Stories, by Grace E. King
*** END OF THIS PROJECT GUTENBERG EBOOK BALCONY STORIES ***
***** This file should be named 11514-8.txt or 11514-8.zip *****
This and all associated files of various formats will be found in:
https://www.gutenberg.org/1/1/5/1/11514/
Produced by Jonathan Ingram, Bradley Norton and the Online Distributed
Proofreading Team.
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: https://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.
Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number. The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.
Most people start at our Web site which has the main PG search facility:
https://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date. If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.
https://www.gutenberg.org/etext06
(Or /etext 05, 04, 03, 02, 01, 00, 99,
98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way. The year of a release date is no longer part
of the directory path. The path is based on the etext number (which is
identical to the filename). The path to the file is made up of single
digits corresponding to all but the last digit in the filename. For
example an eBook of filename 10234 would be found at:
https://www.gutenberg.org/1/0/2/3/10234
or filename 24689 would be found at:
https://www.gutenberg.org/2/4/6/8/24689
An alternative method of locating eBooks:
https://www.gutenberg.org/GUTINDEX.ALL
