Constance Fenimore Woolson

by Constance Fenimore Woolson

  “By the great heavens!” said Keith.

  His face was pallid and rigid, and there was a ghastly cut across his forehead, the work of the sharp-edged rock. The next moment he was on board, brought the boat round just in time, and helped in Carrington, whose right arm was injured.

  “You have saved our lives, señora,” he said abruptly.

  “By Jove, yes,” said Carrington. “We could not have stood it long, and night was coming.” Then they gave all their attention to the hazardous start.

  Sister St. Luke remained unconscious of the fact that she had done anything remarkable. Her black gown was spoiled, which was a pity, and she knew of a balm which was easily compounded and which would heal their bruises. Did they think Melvyna had come back to the house yet? And did they know that all her dishes were broken—yes, even the cups with the red flowers on the border? Then she grew timorous again, and hid her face from the sight of the waves.

  Keith said not a word, but sailed the boat, and it was a wild and dangerous voyage they made, tacking up and down in the gayly painted little craft, that seemed like a toy on that angry water. Once Carrington took the little Sister’s hand in his, and pressed his lips fervently upon it. She had never had her hand kissed before, and looked at him, then at the place, with a vague surprise, which soon faded, however, into the old fear of the wind. It was night when at last they reached the lighthouse; but during the last two tacks they had a light from the window to guide them; and when nearly in they saw the lantern shining out from the shattered windows of the tower in a fitful, surprised sort of way, for Melvyna had returned, and, with the true spirit of a Yankee, had immediately gone to work at the ruins.

  The only sign of emotion she gave was to Keith. “I saw it all,” she said. “That child went right out after you, in that terrible wind, as natural and as quiet as if she was only going across the room. And she so timid a fly could frighten her! Mark my words, Mr. Keith, the good Lord helped her to do it! And I’ll go to that new mission chapel over in the town every Sunday after this, as sure’s my name is Sawyer!” She ceased abruptly, and, going into her kitchen, slammed the door behind her. Emotion with Melvyna took the form of roughness.

  Sister St. Luke went joyfully back to her convent the next day, for Pedro, when he returned, brought the letter, written, as Keith had directed, in the style of an affectionate invitation. The little nun wept for happiness when she read it. “You see how they love me—love me as I love them,” she repeated with innocent triumph again and again.

  “It is all we can do,” said Keith. “She could not be happy anywhere else, and with the money behind her she will not be neglected. Besides, I really believe they do love her. The sending her up here was probably the result of some outside dictation.”

  Carrington, however, was dissatisfied. “A pretty return we make for our saved lives!” he said. “I hate ingratitude.” For Carrington was half disposed now to fall in love with his preserver.

  But Keith stood firm.

  “Adios,” said the little Sister, as Pedro’s boat received her. Her face had lighted so with joy and glad anticipation that they hardly knew her. “I wish you could to the convent go with me,” she said earnestly to the two young men. “I am sure you would like it.” Then, as the boat turned the point, “I am sure you would like it,” she called back, crossing her hands on her breast. “It is very heavenly there—very heavenly.”

  That was the last they saw of her.

  Carrington sent down the next winter from New York a large silver crucifix, superbly embossed and ornamented. It was placed on the high altar of the convent, and much admired and reverenced by all the nuns. Sister St. Luke admired it too. She spoke of the island occasionally, but she did not tell the story of the rescue. She never thought of it. Therefore, in the matter of the crucifix, the belief was that a special grace had touched the young man’s heart. And prayers were ordered for him. Sister St. Luke tended her doves, and at the hour of meditation paced to and fro between the lime-tree and the bush of white roses. When she was thirty years old her cup was full, for then she was permitted to take lessons and play a little upon the old organ.

  Melvyna went every Sunday to the bare, struggling little Presbyterian mission over in the town, and she remains to this day a Sawyer.

  But Keith remembered. He bares his head silently in reverence to all womanhood, and curbs his cynicism as best he can, for the sake of the little Sister—the sweet little Sister St. Luke.

  Miss Elisabetha

  In yonder homestead, wreathed with bounteous vines,

  A lonely woman dwells, whose wandering feet

  Pause oft amid one chamber’s calm retreat,

  Where an old mirror from its quaint frame shines.

  And here, soft wrought in memory’s vague designs,

  Dim semblances her wistful gaze will greet

  Of lost ones that inthrall phantasmally sweet

  The mirror’s luminous quietude enshrines.

  But unto her these dubious forms that pass

  With shadowy majesty or dreamy grace,

  Wear nothing of ghostliness in mien or guise.

  The only ghost that haunts this glimmering glass

  Carries the sad reality in its face

  Of her own haggard cheeks and desolate eyes!

  EDGAR FAWCETT

  OVERLOOKING the tide-water river stands an old house, gleaming white in the soft moonlight; the fragrance of tropic flowers floats out to sea on the land-breeze, coming at sunset over the pine-barrens to take the place of the ocean winds that have blown all day long, bringing in the salt freshness to do battle with the hot shafts of the sun and conquer them. The side of the house toward the river shows stone arches, doorless, opening into a hall; beyond is a large room, lighted by two candles placed on an old-fashioned piano; and full in their yellow radiance sits Miss Elisabetha, playing, with clear, measured touch, an old-time minuet. The light falls upon her face, with its sharp, high-curved features, pale-blue eyes, and the three thin curls of blonde hair on each side. She is not young, our Elisabetha: the tall, spare form, stiffly erect, the little wisp of hair behind ceremoniously braided and adorned with a high comb, the long, thin hands, with the tell-tale wrist-bones prominent as she plays, and the fine network of wrinkles over her pellucid, colorless cheeks, tell this. But the boy who listens sees it not; to him she is a St. Cecilia, and the gates of heaven open as she plays. He leans his head against the piano, and his thoughts are lost in melody; they do not take the form of words, but sway to and fro with the swell and the ebb of the music. If you should ask him, he could not express what he feels, for his is no analytical mind; attempt to explain it to him, and very likely he would fall asleep before your eyes. Miss Elisabetha plays well—in a prim, old-fashioned way, but yet well; the ancient piano has lost its strength, but its tones are still sweet, and the mistress humors its failings. She tunes it herself, protects its strings from the sea-damps, dusts it carefully, and has embroidered for it a cover in cross-stitch, yellow tulips growing in straight rows out of a blue ground—an heirloom pattern brought from Holland. Yet entire happiness can not be ours in this world, and Miss Elisabetha sometimes catches herself thinking how delightful it would be to use E flat once more; but the piano’s E flat is hopelessly gone.

  “Is not that enough for this evening, Theodore?” said Miss Elisabetha, closing the manuscript music-book, whose delicate little pen-and-ink notes were fading away with age.

  “Oh, no, dear aunt; sing for me, please, ‘The Proud Ladye.’”

  And so the piano sounded forth again in a prim melody, and the thin voice began the ballad of the knight, who, scorned by his lady-love, went to the wars with her veil bound on his heart; he dies on the field, but a dove bears back the veil to the Proud Ladye, who straightway falls “a-weeping and a-weeping till she weeps her life away.” The boy who listens i
s a slender stripling, with brown eyes, and a mass of brown curls tossed back from a broad, low forehead; he has the outlines of a Greek, and a dark, silken fringe just borders his boyish mouth. He is dressed in a simple suit of dark-blue cotton jacket and trousers, the broad white collar turned down, revealing his round young throat; on his slender feet he wears snowy stockings, knitted by Miss Elisabetha’s own hands, and over them a low slipper of untanned leather. His brown hands are clasped over one knee, the taper fingers and almond-shaped nails betraying the artistic temperament—a sign which is confirmed by the unusually long, slender line of the eyebrows, curving down almost to the cheeks.

  “A-weeping and a-weeping till she weeps her life away,” sang Miss Elisabetha, her voice in soft diminuendo to express the mournful end of the Proud Ladye. Then, closing the piano carefully, and adjusting the tulip-bordered cover, she extinguished the candles, and the two went out under the open arches, where chairs stood ready for them nightly. The tide-water river—the Warra—flowed by, the moon-path shining goldenly across it; up in the north palmettos stood in little groups alongshore, with the single feathery pine-trees of the barrens coming down to meet them; in the south shone the long lagoon, with its low islands, while opposite lay the slender point of the mainland, fifteen miles in length, the Warra on one side, and on the other the ocean; its white sand-ridges gleamed in the moonlight, and the two could hear the sound of the waves on its outer beach.

  “It is so beautiful,” said the boy, his dreamy eyes following the silver line of the lagoon.

  “Yes,” replied Miss Elisabetha, “but we have no time to waste, Theodore. Bring your guitar and let me hear you sing that romanza again; remember the pauses—three beats to the measure.”

  Then sweetly sounded forth the soft tenor voice, singing an old French romanza, full of little quavers, and falls, and turns, which the boy involuntarily slurred into something like naturalness, or gave staccato as the mocking-bird throws out his shower of short, round notes. But Miss Elisabetha allowed no such license: had she not learned that very romanza from Monsieur Vocard himself forty years before? and had he not carefully taught her every one of those little turns and quavers? Taking the guitar from Theodore’s hand, she executed all the flourishes slowly and precisely, making him follow her, note for note. Then he must sing it all over again while she beat the time with her long, slender foot, incased in a black-silk slipper of her own making. The ladies of the Daarg family always wore slippers—the heavy-sounding modern boot they considered a structure suitable only for persons of plebeian origin. A lady should not even step perceptibly; she should glide.

  “Miss ’Lisabeet, de toas’ is ready. Bress de chile, how sweet he sings to-night! Mos’ like de mock-bird’s self, Mass’ Doro.”

  So spoke old Viny, the one servant of the house, a broad-shouldered, jet-black, comfortable creature, with her gray wool peeping from beneath a gay turban. She had belonged to Doro’s Spanish mother, but, when Miss Elisabetha came South to take the house and care for the orphan-boy, she had purchased the old woman, and set her free immediately.

  “It don’t make naw difference as I can see, Miss ’Lisabeet,” said Viny, when the new mistress carefully explained to her that she was a free agent from that time forth. “ ’Pears harnsome in you to do it, but it arn’t likely I’ll leabe my chile, my Doro-boy, long as I lib—is it, now? When I die, he’ll have ole Viny burred nice, wid de priests, an’ de candles, an’ de singing, an’ all.”

  “Replace your guitar, Theodore,” said Miss Elisabetha, rising, “and then walk to and fro between here and the gate ten times. Walk briskly, and keep your mouth shut; after singing you should always guard against the damps.”

  The boy obeyed in his dreamy way, pacing down the white path, made hard with pounded oyster-shells, to the high stone wall. The old iron-clamped gate, which once hung between the two pomegranate-topped pillars, was gone; for years it had leaned tottering half across the entrance-way, threatening to brain every comer, but Miss Elisabetha had ordered its removal in the twinkling of her Northern eye, and in its place now hung a neat, incongruous little wicket, whose latch was a standing bone of contention between the mistress and the entire colored population of the small village.

  “Go back and latch the gate,” was her constantly repeated order; “the cows might enter and injure the garden.”

  “But th’ arn’t no cows, Miss ’Lisabeet.”

  “There should be, then,” the ancient maiden would reply, severely. “Grass would grow with a little care and labor; look at our pasture. You are much too indolent, good people!”

  Theodore stood leaning over the little gate, his eyes fixed on the white sand-hills across the Warra; he was listening to the waves on the outer beach.

  “Theodore, Theodore!” called Miss Elisabetha’s voice, “do not stand, but pace to and fro; and be sure and keep your mouth closed.”

  Mechanically the boy obeyed, but his thoughts were following the sound of the water. Following a sound? Yes. Sounds were to him a language, and he held converse with the surf, the winds, the rustling marsh-grass, and the sighing pines of the barrens. The tale of the steps completed, he reentered the house, and, following the light, went into a long, narrow room, one of three which, built out behind the main body of the house, formed with its back-wall a square, surrounding a little courtyard, in whose center stood the well, a ruined fountain, rose- and myrtle-bushes, and two ancient fig-trees, dwarfed and gnarled. Miss Elisabetha was standing at the head of the table; before her was a plate containing three small slices of dry toast, crisp and brown, and a decanter of orange-wine, made by her own hands. One slice of the toast was for herself, two were for the boy, who was still supposed to be growing; a Northerner would have said that he was over twenty, but Spanish blood hastens life, and Teodoro in years was actually not yet eighteen. In mind he was still younger, thanks to Miss Elisabetha’s care and strict control. It had never even occurred to him that he need not so absolutely obey her; and, to tell the truth, neither had it occurred to her. Doro ate his simple supper standing—the Daarg family never sat down gluttonously to supper, but browsed lightly on some delicate fragments, moving about and chatting meanwhile as though half forgetting they were eating at all. Then Miss Elisabetha refilled his little glass, watched him drink the clear amber liquid to the last drop, and bade him good night in her even voice. He turned at the door and made her a formal bow, not without grace; she had carefully taught him this salutation, and required it of him every night.

  “I wish you a blessed rest, Theodore,” she said, courtesying in reply; “do not keep the light burning.”

  Half an hour later, when the ancient maiden glided out of her chamber, clad in a long frilled wrapper, the three curls in papers on each side of her head, she saw no gleam from under the low door of the little room across the hall; she listened, but there was no sound, and, satisfied, she retired to her high couch and closed the gayly flowered curtains around her. But, out on the small balcony which hung like a cage from his eastern window, Doro stood, leaning over the iron railing and listening, listening to the far sound of the sea.

  Such had been the life down in the old house for sixteen long, winterless years, the only changes being more difficult music and more toast, longer lessons in French, longer legs to the little blue trousers, increased attention to sea-baths and deportment, and always and ever a careful saving of every copper penny and battered shilling. What became of these coins old Viny did not know; she only knew how patiently they were collected, and how scrupulously saved. Miss Elisabetha attended to the orange-grove in person; not one orange was lost, and the annual waste of the other proprietors, an ancient and matter-of-course waste, handed down from father to son, represented in her purse not a few silver pieces. Pedro, the Minorcan, who brought her fish and sea-food, she had drilled from boyhood in his own art by sheer force of will, paying him by the day, and sending him into the town to sell from door to door all s
he did not need herself, to the very last clam. The lazy housewives soon grew into the habit of expecting Pedro and his basket, and stood in their doorways chatting in the sun and waiting for him, while the husbands let their black dugouts lie idle, and lounged on the sea-wall, smoking and discussing the last alligator they had shot, or the last ship, a coasting-schooner out of water, which had sailed up their crooked harbor six months before. Miss Elisabetha had learned also to braid palmetto, and her long fingers, once accustomed to the work, accomplished as much in a week as Zanita Perez and both her apprentices accomplished in two; she brought to the task also original ideas, original at least in Beata, where the rude hats and baskets were fac-similes of those braided there two hundred years before by the Spanish women, who had learned the art from the Indians. Thus Miss Elisabetha’s wares found ready sale at increased prices, little enough to Northern ideas—sixpence for a hat—one shilling for a basket; but all down the coast, and inland toward the great river, there was a demand for her work, and the lines hung in the garden were almost constantly covered with the drying palmetto. Then she taught music. To whom, do you ask? To the black-eyed daughters of the richer townspeople, and to one or two demoiselles belonging to Spanish families down the coast, sent up to Beata to be educated by the nuns. The good Sisters did their best, but they knew little, poor things, and were glad to call in Miss Elisabetha with her trills and quavers; so the wiry organ in the little cathedral sounded out the ballads and romanzas of Monsieur Vocard, and the demoiselles learned to sing them in their broken French, no doubt greatly to the satisfaction of the golden-skinned old fathers and mothers on the plantations down the coast. The padre in charge of the parish had often importuned Miss Elisabetha to play this organ on Sundays, as the decorous celebration of high-mass suffered sadly, not to say ludicrously, from the blunders of poor Sister Paula. But Miss Elisabetha briefly refused; she must draw a line somewhere, and a pagan ceremonial she could not countenance. The Daarg family, while abhorring greatly the Puritanism of the New England colonies, had yet held themselves equally aloof from the image-worship of Rome; and they had always considered it one of the inscrutable mysteries of Providence that the French nation, so skilled in polite attitude, so versed in the singing of romanzas, should yet have been allowed to remain so long in ignorance of the correct religious mean.