And now, spent with fatigue and watching and care and grief,—heart sick, mind sick, body sick, sick with past suspense and present certainty and future dread,—he sat under the cool shade of the nooning tree, and buried his face in his hands. He was glad to be left alone with his miseries,—glad that the other men, friendly as he felt them to be, had gone to the circus, where he would not see or hear them for hours to come.

How clearly he could conjure up the scene that they were enjoying with such keen relish! Only two days before, he had walked among the same tents, staring at horses and gay trappings and painted Amazons as one who noted nothing; yet the agony of the thing he now saw at last lit up all the rest as with a lightning flash, and burned the scene forever on his brain and heart. It was at Wareham, too,—Wareham, where she had promised to be his wife, where she had married him only a year before. How well he remembered the night! They left the parsonage; they had ten miles to drive in the moonlight before reaching their stopping-place,—ten miles of such joy as only a man could know, he thought, who had had the warm fruit of life hanging within full vision, but just out of reach,—just above his longing lips; and then, in an unlooked-for, gracious moment, his! He could swear she had loved him that night, if never again.

But this picture passed away, and he saw that maddening circle with the caracoling steeds. He head the discordant music, the monotonous creak of the machinery, the strident laughter of the excited riders. As first the thing was a blur, a kaleidoscope of whirling colors, into which there presently crept form and order. ... A boy who had cried to get on, and was now crying to get off. ... Old Rube Hobson and his young wife; Rube looking white and scared, partly by the whizzing motion, and partly by the prospect of paying out ten cents for the doubtful pleasure. ... Pretty Hetty Dunnell with that young fellow from Portland; she too timid to mount one of the mettle-some chargers, and snuggling close to him in one of the circling seats. The, good Got!—Dell! sitting on a prancing white horse, with the man he knew, the man he feared, riding beside her; a man who kept holding on her hat with fingers that trembled,—the very hat she "'peared bride in" a man who brushed a grasshopper from her shoulder with an air of ownership, and, when she slapped his hand coquettishly, even dared to pinch her pink cheek,—his wife's cheek,—before that crowd of on-lookers! Merry-go-round, indeed! The horrible thing was well named; and life was just like it,—a whirl of happiness and misery, in which the music cannot play loud enough to drown the creak of the machinery, in which one soul cries out in pain, another in terror, and the rest laugh; but the prancing steeds gallop on, gallop on, and once mounted, there is no getting off, unless...

There were some things it was not possible for a mean to bear! The river! The river! He could hear it rippling over the sunny sands, swirling among the logs, dashing and roaring under the bridge, rushing to the sea's embrace. Could it tell whither it was hurrying? NO; but it was escaping from its present bonds; it would never have to pass over these same jagged rocks again. "On, on to the unknown!" called the river. "I come! I come!" he roused himself to respond, when a faint, faint, helpless voice broke in upon the mad clatter in his brain, cleaving his torn heart in twain; not a real voice,—the half-forgotten memory of one; a tender wail that had added fresh misery to his night's vigil,—the baby!

But the feeble pipe was borne down by the swirl of the water as it dashed between the rocky banks, still calling to him. If he could only close his ears to it! But it still called—called still—the river! And still the child's voice pierced the rush of sound with its pitiful flute note, until the two resolved themselves into contesting strains, answering each other antiphonally. The river—the baby—the river—the baby; and in and through, and betwixt and between, there spun the whirling merry-go-round, with its curveting wooden horses, its discordant organ, and its creaking machinery.

But gradually the child's voice gained in strength, and as he heard it more plainly the other sounds grew fainter, till at last, thank God! they were hushed. The din, the whirlwind, and the tempest in his brain were lulled into silence, as under a "Peace, be still!" and, worn out with the contest, the man from Tennessee fell asleep under the grateful shade of the nooning tree. So deep was the slumber that settled over exhausted body and troubled spirit that the gathering clouds, the sudden darkness, the distant muttering of thunder, the frightened twitter of the birds, passed unnoticed. A heavy drop of rain pierced the thick foliage and fell on his face, but the storm within had been too fierce for him to heed the storm without. He slept on.

*****

Almost every man, woman, and child in the vicinity of Pleasant River was on the way to the circus,—Boomer's Grand Six-in-One Universal Consolidated Show; Brilliant Constellations of Fixed Stars shining in the same Vast Firmament; Glittering Galaxies of World-Famous Equestrian Artists; the biggest elephants, the funniest clowns, the pluckiest riders, the stubbornest mules, the most amazing acrobats, the tallest man and the shortest man, the thinnest woman and the thickest woman, on the habitable globe; and no connection with any other show on earth, especially Sypher's Two-in-One Show now devastating the same State.

If the advertisements setting forth these attractions were couched in language somewhat rosier than the facts would warrant, there were few persons calm enough to perceive it, when once the glamour of the village parade and the smell of the menagerie had intoxicated the senses.

The circus had been the sole topic of conversation for a fortnight. Jot Bascom could always be relied on for the latest and most authentic news of its triumphant progress from one town to another. Jot was a sort of town crier; and whenever the approach of a caravan was announced, he would go over on the Liberty road to find out just where it was and what were its immediate plans, for the thrilling pleasure of calling at every one of the neighbors' on his way home, and delivering his budget of news. He was an attendant at every funeral, and as far as possible at every wedding, in the village; at every flag-raising and husking, and town and county fair. When more pressing duties did not hinder, he endeavored to meet the two daily trains that passed through Milliken's Mills, a mile or two from Pleasant River. He accompanied the sheriff on all journeys entailing serving of papers and other embarrassing duties common to the law. On one occasion, when the two lawyers of the village held an investigation before Trial Justice Simeon Porter, they waited an hour because Jot Bascom did not come. They knew that something was amiss, but it was only on reflection that they remembered that Jot was not indispensable. He went with all paupers to the Poor Farm, and never missed a town meeting. He knew all the conditions attending any swapping of horses that occurred within a radius of twenty miles,—the terms of the trade and the amount paid to boot. He knew who owed the fish-man and who owed the meat-man, and who could not get trusted by either of them. In fact, so far as the divine attributes of omniscience and omnipresence could be vested in a faulty human creature, they were present in Jot Bascom. That he was quite unable to attend conscientiously to home duties, when overborne by press of public service, was true. When Diadema Bascom wanted kindling split, wood brought in, the cows milked, or the pigs fed, she commonly found her spouse serving humanity in bulk.

All the details of the approach of the Grand Six-in-One Show had, therefore, been heralded to those work-sodden and unambitious persons who tied themselves to their own wood-piles or haying-fields.

These were the bulletins issues:—

The men were making a circle in the Widow Buzzell's field, in the same place where the old one had been,—the old one, viewed with awe for five years by all the village small boys.

The forerunners, outriders, proprietors, whatever they might be, had arrived and gone to the tavern.

An elephant was quartered in the tavern shed!

The elephant had stepped through the floor!!

The advance guard of performers and part of the show itself had come!

And the "Cheriot"!!

This far-famed vehicle had paused on top of Deacon Chute's hill, to prepare for the street parade. Little Jim Chute had been gloating over the fact that it must pass by his house, and when it stopped short under the elms in the dooryard his heart almost broke for joy. He pinched the twenty-five-cent piece in his pocket to assure himself that he was alive and in his right mind. The precious coin had been the result of careful saving, and his hot, excited hands had almost worn it thin. But alas for the vanity of human hopes! When the magnificent red-and-gold "Cheriot" was uncovered, that its glories might shine upon the waiting world, the door opened, and a huddle of painted Indians tumbled out, ready to lead the procession, or, if so disposed, to scalp the neighborhood. Little Jim gave one panic-stricken look as they leaped over the chariot steps, and then fled to the barn chamber, whence he had to be dragged by his mother, and cuffed into willingness to attend the spectacle that had once so dazzled his imagination.

On the eventful afternoon of the performance the road was gay with teams. David and Samantha Milliken drove by in Miss Cummin's neat carryall, two children on the back seat, a will-o'-the-wisp baby girl held down by a serious boy. Steve Webster was driving Doxy Morton in his mother's buggy. Jabe Slocum, Pitt Packard, Brad Gibson, Cyse Higgins, and scores of others were riding "shank's mare," as they would have said.

It had been a close, warm day, and as the afternoon wore away it grew hotter and closer. There was a dead calm in the air, a threatening blackness in the west that made the farmers think anxiously of their hay. Presently the thunderheads ran together into big black clouds, which melted in turn into molten masses of smoky orange, so that the heavens were like burnished brass. Drivers whipped up their horses, and pedestrians hastened their steps. Steve Webster decided not to run even the smallest risk of injuring so precious a commodity as Doxy Morton by a shower of rain, so he drove into a friend's yard, put up his horse, and waited till the storm should pass by. Brad Gibson stooped to drink at a wayside brook, and as he bent over the water he heard a low, murmuring, muttering sound that seemed to make the earth tremble.

Then from hill to hill "leapt the live thunder." Even the distant mountains seemed to have "found a tongue." A zigzag chain of lightning flashed in the lurid sky, and after an appreciable interval another peal, louder than the first, and nearer.

The rain began to fall, the forked flashes of flame darted hither and thither in the clouds, and the boom of heaven's artillery grew heavier and heavier. The blinding sheets of light and the tumultuous roar of sound now followed each other so quickly that they seemed almost simultaneous. Flash—crash—flash—crash—flash—crash; blinding and deafening eye and ear at once. Everybody who could find a shelter of any sort hastened to it. The women at home set their children in the midst of feather beds, and some of them even huddled there themselves, their babies clinging to them in sympathetic fear, as the livid shafts of light illuminated the dark rooms with more than noonday glare.

The air was full of gloom; a nameless terror lurked within it; the elements seemed at war with each other. Horses whinnied in the stables, and colts dashed about the pastures. The cattle sought sheltered places; the cows ambling clumsily towards some refuge, their full bags dripping milk as they swung heavily to and fro. The birds flew towards the orchards and the deep woods; the swallows swooped restlessly round the barns, and hid themselves under the eaves or in the shadow of deserted nests.

The rain now fell in sheets.

"Hurry up 'n' git under cover, Jabe," said Brad Gibson; "you're jest the kind of a pole to draw lightnin'!"

"You hain't, then!" retorted Jabe. "There ain't enough o' you fer lightnin' to ketch holt of!"

Suddenly a ghastly streak of light leaped out of a cloud, and then another, till the sky seemed lit up by cataracts of flame. A breath of wind sprang into the still air. Then a deafening crash, clap, crack, roar, peal! and as Jabe Slocum looked out of a protecting shed door, he saw a fiery ball burst from the clouds, shooting brazen arrows as it fell. Within the instant the meeting-house steeple broke into a tongue of flame, and then, looking towards home, he fancied that the fireball dropped to earth in Squire Bean's meadow.

The wind blew more fiercely now. There was a sudden crackling of wood, falling of old timers, and breaking of glass. The deadly fluid ran in a winding course down a great maple by the shed, leaving a narrow charred channel through the bark to tell how it passed to earth. A sombre pine stood up, black and burned, its heart gaping through a ghastly wound in the split trunk.

The rain now subsided; there was only an occasional faint rumbling of thunder, as if it were murmuring over the distant sea; the clouds broke away in the west; the sun peeped out, as if to see what had been going on in the world since he hid himself an hour before. A delicate rainbow bridge stretched from the blackened church steeple to the glittering weathercock on the squire's barn; and there, in the centre of the fair green meadows from which it had risen in glorious strength and beauty for a century or more, lay the nooning tree.

The fireball, if ball of fire indeed there were, had struck in the very centre of its splendid dome, and ploughed its way from feather tip to sturdy root, riving the tree in twain, cleaving its great boughs left and right, laying one majestic half level with the earth, and bending the other till the proud head almost touched the grass.

The rainbow was reflected in the million drops glittering upon the bowed branches, turning each into a tear of liquid opal. The birds hopped on the prone magnificence, and eyed timorously a strange object underneath.

There had been one swift, pitiless, merciful stroke! The monarch of the meadow would never again feel the magic thrill of the sap in its veins, nor the bursting of brown bud into green leaf.

The birds would build their nests and sing their idyls in other boughs. The "time of pleasure and love" was over with the nooning tree; over too, with him who slept beneath; for under its fallen branches, with the light of a great peace in his upturned face, lay the man from Tennessee.



THE FORE-ROOM RUG.

Diadema, wife of Jot Bascom, was sitting at the window of the village watch-tower, so called because it commanded a view of nearly everything that happened in Pleasant River; those details escaping the physical eye being supplied by faith and imagination working in the light of past experience. She sat in the chair of honor, the chair of choice, the high-backed rocker by the southern window, in which her husband's mother, old Mrs. Bascom, had sat for thirty years, applying a still more powerful intellectual telescope to the doings of her neighbors. Diadema's seat had formerly been on the less desirable side of the little light-stand, where Priscilla Hollis was now installed.

Mrs. Bascom was at work on a new fore-room rug, the former one having been transferred to Miss Hollis's chamber; for, as the teacher at the brick schoolhouse, a graduate of a Massachusetts normal school, and the daughter of a deceased judge, she was a boarder of considerable consequence. It was a rainy Saturday afternoon, and the two women were alone. It was a pleasant, peaceful sitting-room, as neat as wax in every part. The floor was covered by a cheerful patriotic rag carpet woven entirely of red, white, and blue rags, and protected in various exposed localities by button rugs,—red, white, and blue disks superimposed one on the other.

Diadema Bascom was a person of some sentiment. When her old father, Captain Dennett, was dying, he drew a wallet from under his pillow, and handed her a twenty-dollar bill to get something to remember him by. This unwonted occurrence burned itself into the daughter's imagination, and when she came as a bride to the Bascom house she refurnished the sitting-room as a kind of monument to the departed soldier, whose sword and musket were now tied to the wall with neatly hemmed bows of bright red cotton.

The chair cushions were of red-and-white glazed patch, the turkey wings that served as hearth brushes were hung against the white-painted chimney-piece with blue skirt braid, and the white shades were finished with home-made scarlet "tossels." A little whatnot in one corner was laden with the trophies of battle. The warrior's brass buttons were strung on a red picture cord and hung over his daguerreotype on the upper shelf; there was a tarnished shoulder strap, and a flattened bullet that the captain's jealous contemporaries swore he never stopped, unless he got it in the rear when he was flying from the foe. There was also a little tin canister in which a charge of powder had been sacredly preserved. The scoffers, again, said that "the cap'n put it in his musket when he went into the war, and kep' it there till he come out." These objects were tastefully decorated with the national colors. In fact, no modern aesthete could have arranged a symbolic symphony of grief and glory with any more fidelity to an ideal than Diadema Bascom, in working out her scheme of red, white, and blue.

Rows of ripening tomatoes lay along the ledges of the windows, and a tortoise-shell cat snoozed on one of the broad sills. The tall clock in the corner ticked peacefully. Priscilla Hollis never tired of looking at the jolly red-cheeked moon, the group of stars on a blue ground, the trig little ship, the old house, and the jolly moon again, creeping one after another across the open space at the top.

Jot Bascom was out, as usual, gathering statistics of the last horse trade; little Jot was building "stickin'" houses in the barn; Priscilla was sewing long strips for braiding; while Diadema sat at the drawing-in frame, hook in hand, and a large basket of cut rags by her side.

Not many weeks before she had paid one of her periodical visits to the attic. No housekeeper in Pleasant River save Mrs. Jonathan Bascom would have thought of dusting a garret, washing the window and sweeping down the cobwebs once a month, and renewing the camphor bags in the chests twice a year; but notwithstanding this zealous care the moths had made their way into one of her treasure-houses, the most precious of all,—the old hair trunk that had belonged to her sister Lovice. Once ensconced there, they had eaten through its hoarded relics, and reduced the faded finery to a state best described by Diadema as "reg'lar riddlin' sieves." She had brought the tattered pile down in to the kitchen, and had spent a tearful afternoon in cutting the good pieces from the perforated garments. Three heaped-up baskets and a full dish-pan were the result; and as she had snipped and cut and sorted, one of her sentimental projects had entered her mind and taken complete possession there.

"I declare," she said, as she drew her hooking-needle in and out, "I wouldn't set in the room with some folks and work on these pieces; for every time I draw in a scrap of cloth Lovice comes up to me for all the world as if she was settin' on the sofy there. I ain't told you my plan, Miss Hollis, and there ain't many I shall tell; but this rug is going to be a kind of a hist'ry of my life and Lovey's wrought in together, just as we was bound up in one another when she was alive. Her things and mine was laid in one trunk, and the moths sha'n't cheat me out of 'em altogether. If I can't look at 'em wet Sundays, and shake 'em out, and have a good cry over 'em, I'll make 'em up into a kind of dumb show that will mean something to me, if it don't to anybody else.

"We was the youngest of thirteen, Lovey and I, and we was twins. There 's never been more 'n half o' me left sence she died. We was born together, played and went to school together, got engaged and married together, and we all but died together, yet we wa'n't a mite alike. There was an old lady come to our house once that used to say, 'There's sister Nabby, now: she 'n' I ain't no more alike 'n if we wa'n't two; she 's jest as diff'rent as I am t' other way.' Well, I know what I want to put into my rag story, Miss Hollis, but I don't hardly know how to begin."

Priscilla dropped her needle, and bent over the frame with interest.

"A spray of two roses in the centre,—there 's the beginning; why, don't you see, dear Mrs. Bascom?"

"Course I do," said Diadema, diving to the bottom of the dish-pan. "I've got my start now, and don't you say a word for a minute. The two roses grow out of one stalk; they'll be Lovey and me, though I'm consid'able more like a potato blossom. The stalk 's got to be green, and here is the very green silk mother walked bride in, and Lovey and I had roundabouts of it afterwards. She had the chicken-pox when we was about four years old, and one of the first things I can remember is climbing up and looking over mother's footboard at Lovey, all speckled. Mother had let her slip on her new green roundabout over her nightgown, just to pacify her, and there she set playing with the kitten Reuben Granger had brought her. He was only ten years old then, but he 'd begun courting Lovice.

"The Grangers' farm joined ours. They had eleven children, and mother and father had thirteen, and we was always playing together. Mother used to tell a funny story about that. We were all little young ones and looked pretty much alike, so she didn't take much notice of us in the daytime when we was running out 'n' in; but at night when the turn-up bedstead in the kitchen was taken down and the trundle-beds were full, she used to count us over, to see if we were all there. One night, when she 'd counted thirteen and set down to her sewing, father come in and asked if Moses was all right, for one of the neighbors had seen him playing side of the river about supper-time. Mother knew she 'd counted us straight, but she went round with a candle to make sure. Now, Mr. Granger had a head as red as a shumac bush; and when she carried the candle close to the beds to take another tally, there was thirteen children, sure enough, but if there wa'n't a red-headed Granger right in amongst our boys in the turn-up bedstead! While father set out on a hunt for our Moses, mother yanked the sleepy little red-headed Granger out o' the middle and took him home, and father found Moses asleep on a pile of shavings under the joiner's bench.

"They don't have such families nowadays. One time when measles went all over the village, they never came to us, and Jabe Slocum said there wa'n't enough measles to go through the Dennett family, so they didn't start in on 'em. There, I ain't going to finish the stalk; I'm going to draw in a little here and there all over the rug, while I'm in the sperit of plannin' it, and then it will be plain work of matching colors and filling out.

"You see the stalk is mother's dress, and the outside green of the moss roses is the same goods, only it 's our roundabouts. I meant to make 'em red, when I marked the pattern, and then fill out round 'em with a light color; but now I ain't satisfied with anything but white, for nothing will do in the middle of the rug but our white wedding dresses. I shall have to fill in dark, then, or mixed. Well, that won't be out of the way, if it 's going to be a true rag story; for Lovey's life went out altogether, and mine hasn't been any too gay.

"I'll begin on Lovey's rose first. She was the prettiest and the liveliest girl in the village, and she had more beaux than you could shake a stick at. I generally had to take what she left over. Reuben Granger was crazy about her from the time she was knee-high; but when he went away to Bangor to study for the ministry, the others had it all their own way. She was only seventeen; she hadn't ever experienced religion, and she was mischeevous as a kitten.

"You remember you laughed, this morning, when Mr. Bascom told about Hogshead Jowett? Well, he used to want to keep company with Lovey; but she couldn't abide him, and whenever he come to court her she clim' into a hogshead, and hid till after he 'd gone. The boys found it out, and used to call him 'Hogshead Jowett." He was the biggest fool in Foxboro' Four Corners; and that 's saying consid'able, for Foxboro' is famous for its fools, and always has been. There was thirteen of 'em there one year. They say a man come out from Portland, and when he got as fur as Foxboro' he kep' inquiring the way to Dunstan; and I declare if he didn't meet them thirteen fools, one after another, standing in their front dooryards ready to answer questions. When he got to Dunstan, says he, 'For the Lord's sake, what kind of a village is that I've just went through? Be they all fools there?'

"Hogshead was scairt to death whenever he come to see Lovice. One night, when he 'd been there once, and she 'd hid, as she always done, he come back a second time, and she went to the door, not mistrusting it was him. 'Did you forget anything?' says she, sparkling out at him through a little crack. He was all taken aback by seeing her, and he stammered out, 'Yes, I forgot my han'k'chief; but it don't make no odds, for I didn't pay out but fifteen cents for it two year ago, and I don't make no use of it 'ceptins to wipe my nose on.' How we did laugh over that! Well, he had a conviction of sin pretty soon afterwards, and p'r'aps it helped his head some; at any rate he quit farming, and become a Bullockite preacher.

"It seems odd, when Lovice wa'n't a perfessor herself, she should have drawed the most pious young men in the village, but she did: she had good Orthodox beaux, Free and Close Baptists, Millerites and Adventists, all on her string together; she even had one Cochranite, though the sect had mostly died out. But when Reuben Granger come home, a full-feathered-out minister, he seemed to strike her fancy as he never had before, though they were always good friends from children. He had light hair and blue eyes and fair skin (his business being under cover kep' him bleached out), and he and Lovey made the prettiest couple you ever see; for she was dark complected, and her cheeks no otherways than scarlit the whole durin' time. She had a change of heart that winter; in fact she had two of 'em, for she changed hers for Reuben's, and found a hope at the same time. 'T was a good honest conversion, too, though she did say to me she was afraid that if Reuben hadn't taught her what love was or might be, she 'd never have found out enough about it to love God as she 'd ought to.

"There, I've begun both roses, and hers is 'bout finished. I sha'n't have more 'n enough white alapaca. It's lucky the moths spared one breadth of the wedding dresses; we was married on the same day, you know, and dressed just alike. Jot wa'n't quite ready to be married, for he wa'n't any more forehanded 'bout that than he was 'bout other things; but I told him Lovey and I had kept up with each other from the start, and he 'd got to fall into line or drop out o' the percession.—Now what next?"

"Wasn't there anybody at the wedding but you and Lovice?" asked Priscilla, with an amused smile.

"Land, yes! The meeting-house was cram jam full. Oh, to be sure! I know what you 're driving at! Well, I have to laugh to think I should have forgot the husbands! They'll have to be worked into the story, certain; but it'll be consid'able of a chore, for I can't make flowers out of coat and pants stuff, and there ain't any more flowers on this branch anyway."

Diadema sat for a few minutes in rapt thought, and then made a sudden inspired dash upstairs, where Miss Hollis presently heard her rummaging in an old chest. She soon came down, triumphant.

"Wa'n't it a providence I saved Jot's and Reuben's wedding ties! And here they are,—one yellow and green mixed, and one brown. Do you know what I'm going to do? I'm going to draw in a butterfly hovering over them two roses, and make it out of the neckties,—green with brown spots. That'll bring in the husbands; and land! I wouldn't have either of 'em know it for the world. I'll take a pattern of that lunar moth you pinned on the curtain yesterday."

Miss Hollis smiled in spite of herself. "You have some very ingenious ideas and some very pretty thoughts, Mrs. Bascom, do you know it?"

"It's the first time I ever heard tell of it," said Diadema cheerfully. "Lovey was the pretty-spoken, pretty-appearing one; I was always plain and practical. While I think of it, I'll draw in a little mite of this red into my carnation pink. It was a red scarf Reuben brought Lovey from Portland. It was the first thing he ever give her, and aunt Hitty said if one of the Abel Grangers give away anything that cost money, it meant business. That was all fol-de-rol, for there never was a more liberal husband, though he was a poor minister; but then they always are poor, without they're rich; there don't seem to be any halfway in ministers.

"We was both lucky that way. There ain't a stingy bone in Jot Bascom's body. He don't make much money, but what he does make goes into the bureau drawer, and the one that needs it most takes it out. He never asks me what I done with the last five cents he give me. You 've never been married Miss Hollis, and you ain't engaged, so you don't know much about it; but I tell you there 's a heap o' foolishness talked about husbands. If you get the one you like yourself, I don't know as it matters if all the other women folks in town don't happen to like him as well as you do; they ain't called on to do that. They see the face he turns to them, not the one he turns to you. Jot ain't a very good provider, nor he ain't a man that 's much use round a farm, but he 's such a fav'rite I can't blame him. There 's one thing: when he does come home he 's got something to say, and he 's always as lively as a cricket, and smiling as a basket of chips. I like a man that 's good comp'ny, even if he ain't so forehanded. There ain't anything specially lovable about forehandedness, when you come to that. I shouldn't ever feel drawed to a man because he was on time with his work. He 's got such pleasant ways, Jot has! The other afternoon he didn't get home early enough to milk; and after I done the two cows, I split the kindling and brought in the wood, for I knew he 'd want to go to the tavern and tell the boys 'bout the robbery up to Boylston. There ain't anybody but Jot in this village that has wit enough to find out what 's going on, and tell it in an int'resting way round the tavern fire. And he can do it without being full of cider, too; he don't need any apple juice to limber his tongue!

"Well, when he come in, he see the pails of milk, and the full wood-box, and the supper laid out under the screen cloth on the kitchen table, and he come up to me at the sink, and says he, 'Diademy, you 're the best wife in this county, and the brightest jewel in my crown,—that 's what you are!' (He got that idea out of a duet he sings with Almiry Berry.) Now I'd like to know whether that ain't pleasanter than 't is to have a man do all the shed 'n' barn work up smart, and then set round the stove looking as doleful as a last year's bird's nest? Take my advice, Miss Hollis: get a good provider if you can, but anyhow try to find you a husband that'll keep on courting a little now and then, when he ain't too busy; it smooths things consid'able round the house.

"There, I got so int'rested in what I was saying, I've went on and finished the carnation, and some of the stem, too. Now what comes next? Why, the thing that happened next, of course, and that was little Jot.

"I'll work in a bud on my rose and one on Lovey's, and my bud'll be made of Jot's first trousers. The goods ain't very appropriate for a rosebud, but it'll have to do, for the idee is the most important thing in this rug. When I put him into pants, I hadn't any cloth in the house, and it was such bad going Jot couldn't get to Wareham to buy me anything; so I made 'em out of an old gray cashmere skirt, and lined 'em with flannel."

"Buds are generally the same color as the roses, aren't they?" ventured Priscilla.

"I don't care if they be," said Diadema obstinately. "What's to hender this bud's bein' grafted on? Mrs. Granger was as black as an Injun, but the little Granger children were all red-headed, for they took after their father. But I don't know; you've kind o' got me out o' conceit with it. I s'pose I could have taken a piece of his baby blanket; but the moths never et a mite o' that, and it's too good to cut up. There's one thing I can do: I can make the bud up with a long stem, and have it growing right up alongside of mine,—would you?"

"No, it must be stalk of your stalk, bone of your bone, flesh of your flesh, so to speak. I agree with you, the idea is the first thing. Besides, the gray is a very light shade, and I dare say it will look like a bluish white."

"I'll try it and see, but I wish to the land the moths had eat the pinning-blanket, and then I could have used it. Lovey worked the scallops on the aidge for me. My grief! what int'rest she took in my baby clothes! Little Jot was born at Thanksgiving time, and she come over from Skowhegan, where Reuben was settled pastor of his first church. I shall never forget them two weeks to the last day of my life. There was deep snow on the ground. I had that chamber there, with the door opening into the setting-room. Mother and father Bascom kep' out in the dining-room and kitchen, where the work was going on, and Lovey and the baby and me had the front part of the house to ourselves, with Jot coming in on tiptoe, heaping up wood in the fireplace so 't he 'most roasted us out. He don't forget his chores in time o' sickness.

"I never took so much comfort in all my days. Jot got one of the Billings girls to come over and help in the housework, so 't I could lay easy 's long as I wanted to; and I never had such a rest before nor since. There ain't any heaven in the book o' Revelations that 's any better than them two weeks was. I used to lay quiet in my good feather bed, fingering the pattern of my best crochet quilt, and looking at the fire-light shining on Lovey and the baby. She 'd hardly leave him in the cradle a minute. When I did n't want him in bed with me, she 'd have him in her lap. Babies are common enough to most folks, but Lovey was diff'rent. She 'd never had any experience with children, either, for we was the youngest in our family; and it wa'n't long before we come near being the oldest, too, for mother buried seven of us before she went herself. Anyway, I never saw nobody else look as she done when she held my baby. I don't mean nothing blasphemious when I say 't was for all the world like your photograph of Mary, the mother of Jesus.

"The nights come in early, so it was 'most dark at four o'clock. The little chamber was so peaceful! I could hear Jot rattling the milk-pails, but I'd draw a deep breath o' comfort, for I knew the milk would be strained and set away without my stepping foot to the floor. Lovey used to set by the fire, with a tall candle on the light-stand behind her, and a little white knit cape over her shoulders. She had the pinkest cheeks, and the longest eyelashes, and a mouth like a little red buttonhole; and when she bent over the baby, and sung to him,—though his ears wa'n't open, I guess for his eyes wa'n't,—the tears o' joy used to rain down my cheeks. It was pennyrial hymns she used to sing mostly, and the one I remember best was

"'Daniel's wisdom may I know, Stephen's faith and spirit show; John's divine communion feel, Moses' meekness, Joshua's zeal, Run like the unwearied Paul, Win the day and conquer all.

"'Mary's love may I possess, Lydia's tender-heartedness, Peter's fervent spirit feel, James's faith by works reveal, Like young Timothy may I Every sinful passion fly.'

"'Oh Diademy,' she 'd say, 'you was always the best, and it 's nothing more 'n right the baby should have come to you. P'r'aps God will think I'm good enough some time; and if he does, Diademy, I'll offer up a sacrifice every morning and every evening. But I'm afraid,' says she, 'he thinks I can't stand any more happiness, and be a faithful follower of the cross. The Bible says we 've got to wade through fiery floods before we can enter the kingdom. I don't hardly know how Reuben and I are going to find any way to wade through; we're both so happy, they 'd have to be consid'able hot before we took notice,' says she, with the dimples all breaking out in her cheeks.

"And that was true as gospel. She thought everything Reuben done was just right, and he thought everything she done was just right. There wa'n't nobody else; the world was all Reuben 'n' all Lovey to them. If you could have seen her when she was looking for him to come from Skowhegan! She used to watch at the attic window; and when she seen him at the foot of the hill she 'd up like a squirrel, and run down the road without stopping for anything but to throw a shawl over her head. And Reuben would ketch her up as if she was a child, and scold her for not putting a hat on, and take her under his coat coming up the hill. They was a sight for the neighbors, I must confess, but it wa'n't one you could hardly disapprove of, neither. Aunt Hitty said it was tempting Providence and couldn't last, and God would visit his wrath on 'em for making idols of sinful human flesh.

"She was right one way,—it didn't last; but nobody can tell me God was punishing of 'em for being too happy. I guess he 'ain't got no objection to folks being happy here below, if they don't forget it ain't the whole story.

"Well, I must mark in a bud on Lovey's stalk now, and I'm going to make it of her baby's long white cloak. I earned the money for it myself, making coats, and put four yards of the finest cashmere into it; for three years after little Jot was born I went over to Skowhegan to help Lovey through her time o' trial. Time o' trial! I thought I was happy, but I didn't know how to be as happy as Lovey did; I wa'n't made on that pattern.

"When I first showed her the baby (it was a boy, same as mine), her eyes shone like two evening stars. She held up her weak arms, and gathered the little bundle o' warm flannen into 'em; and when she got it close she shut her eyes and moved her lips, and I knew she was taking her lamb to the altar and offering it up as a sacrifice. Then Reuben come in. I seen him give one look at the two dark heads laying close together on the white piller, and then go down on his knees by the side of the bed. 'T wa'n't no place for me; I went off, and left 'em together. We didn't mistrust it then, but they only had three days more of happiness, and I'm glad I give 'em every minute."

The room grew dusky as twilight stole gently over the hills of Pleasant River. Priscilla's lip trembled; Diadema's tears fell thick and fast on the white rosebud, and she had to keep wiping her eyes as she followed the pattern.

"I ain't said as much as this about it for five years," she went on, with a tell-tale quiver in her voice, "but now I've got going I can't stop. I'll have to get the weight out o' my heart somehow.

"Three days after I put Lovey's baby into her arms the Lord called her home. 'When I prayed so hard for this little new life, Reuben,' says she holding the baby as if she could never let it go, 'I didn't think I'd got to give up my own in place of it; but it's the first fiery flood we've had, dear, and though it burns to my feet I'll tread it as brave as I know how.'

"She didn't speak a word after that; she just faded away like a snowdrop, hour by hour. And Reuben and I stared at one another in the face as if we was dead instead of her, and we went about that house o' mourning like sleep-walkers for days and says, not knowing whether we et or slept, or what we done.

"As for the baby, the poor little mite didn't live many hours after its mother, and we buried 'em together. Reuben and I knew what Lovey would have liked. She gave her life for the baby's, and it was a useless sacrifice, after all. No, it wa'n't neither; it couldn't have been! You needn't tell me God'll let such sacrifices as that come out useless! But anyhow, we had one coffin for 'em both, and I opened Lovey's arms and laid the baby in 'em. When Reuben and I took our last look, we thought she seemed more 'n ever like Mary, the mother of Jesus. There never was another like her, and there never will be. 'Nonesuch,' Reuben used to call her."

There was silence in the room, broken only by the ticking of the old clock and the tinkle of a distant cowbell. Priscilla made an impetuous movement, flung herself down by the basket of rags, and buried her head in Diadema's gingham apron.

"Dear Mrs. Bascom, don't cry. I'm sorry, as the children say."

"No, I won't more 'n a minute. Jot can't stand it to see me give way. You go and touch a match to the kitchen fire, so 't the kettle will be boiling, and I'll have a minute to myself. I don't know what the neighbors would think to ketch me crying over my drawing-in frame; but the spell's over now, or 'bout over, and when I can muster up courage I'll take the rest of the baby's cloak and put a border of white everlastings round the outside of the rug. I'll always mean the baby's birth and Lovey's death to me; but the flowers will remind me it 's life everlasting for both of 'em, and so it's the most comforting end I can think of."

It was indeed a beautiful rug when it was finished and laid in front of the sofa in the fore-room. Diadema was very choice of it. When company was expected she removed it from its accustomed place, and spread it in a corner of the room where no profane foot could possibly tread on it. Unexpected callers were managed by a different method. If they seated themselves on the sofa, she would fear they did not "set easy" or "rest comfortable" there, and suggest their moving to the stuffed chair by the window. The neighbors thought this solicitude merely another sign of Diadema's "p'ison neatness," excusable in this case as there was so much white in the new rug.

The fore-room blinds were ordinarily closed, and the chillness of death pervaded the sacred apartment; but on great occasions, when the sun was allowed to penetrate the thirty-two tiny panes of glass in each window, and a blaze was lighted in the fire-place, Miss Hollis would look in as she went upstairs, and muse a moment over the pathetic little romance of rags, the story of two lives worked into a bouquet of old-fashioned posies, whose gay tints were brought out by a setting of sombre threads. Existence had gone so quietly in this remote corner of the world that all its important events, babyhood, childhood, betrothal, marriage, motherhood, with all their mysteries of love and life and death, were chronicled in this narrow space not two yards square.

Diadema came in behind the little school-teacher one afternoon.

"I cal'late," she said, "that being kep' in a dark room, and never being tread on, it will last longer 'n I do. If it does, Priscilla, you know that white crepe shawl of mine I wear to meeting hot Sundays: that would make a second row of everlastings round the border. You could piece out the linings good and smooth on the under side, draw in the white flowers, and fill 'em round with black to set 'em off. The rug would be han'somer than ever then, and the story—would be finished."



A VILLAGE STRADIVARIUS.

I.

"Goodfellow, Puck and goblins, Know more than any book. Down with your doleful problems, And court the sunny brook. The south-winds are quick-witted, The schools are sad and slow, The masters quite omitted The lore we care to know."

Emerson's April.

"Find the 317th page, Davy, and begin at the top of the right-hand column."

The boy turned the leaves of the old instruction book obediently, and then began to read in a sing-song, monotonous tone:—

"'One of Pag-pag'"—

"Pag-a-ni-ni's."

"'One of Paggernyner's' (I wish all the fellers in your stories didn't have such tough old names!) 'most dis-as-ter-ous triumphs he had when playing at Lord Holland's.' (Who was Lord Holland, uncle Tony?) 'Some one asked him to im-pro-vise on the violin the story of a son who kills his father, runs a-way, becomes a highway-man, falls in love with a girl who will not listen to him; so he leads her to a wild country site, suddenly jumping with her from a rock into an a-b-y-double-s'"—

"Abyss."

"'—a—rock—into—an—abyss, were they disappear forever. Paggernyner listened quietly, and when the story was at an end he asked that all the lights should be distinguished.'"

"Look closer, Davy."

"'Should be extinguished. He then began playing, and so terrible was the musical in-ter-pre-ta-tion of the idea which had been given him that several of the ladies fainted, and the sal-salon-salon, when relighted, looked like a battle-field.' Cracky! Wouldn't you like to have been there, uncle Tony? But I don't believe anybody ever played that way, do you?"

"Yes," said the listener, dreamily raising his sightless eyes to the elm-tree that grew by the kitchen door. "I believe it, and I can hear it myself when you read the story to me. I feel that the secret of everything in the world that is beautiful, or true, or terrible, is hidden in the strings of my violin, Davy, but only a master can draw it from captivity."

"You make stories on your violin, too, uncle Tony, even if the ladies don't faint away in heaps, and if the kitchen doesn't look like a battle-field when you 've finished. I'm glad it doesn't, for my part, for I should have more housework to do than ever."

"Poor Davy! you couldn't hate housework any worse if you were a woman; but it is all done for to-day. Now paint me one of your pictures, laddie; make me see with your eyes."

The boy put down the book and leaped out of the open door, barely touching the old millstone that served for a step. Taking a stand in the well-worn path, he rested his hands on his hips, swept the landscape with the glance of an eagle, and began like a young improvisator:—

"The sun is just dropping behind Brigadier Hill."

"What color is it?"

"Red as fire, and there isn't anything near it,—it 's almost alone in the sky; there 's only teenty little white feather clouds here and there. The bridge looks as if it was a silver string tying the two sides of the river together. The water is pink where the sun shines into it. All the leaves of the trees are kind of swimming in the red light,—I tell you, nunky, just as if I was looking through red glass. The weather vane on Squire Bean's barn dazzles so the rooster seems to be shooting gold arrows into the river. I can see the tip top of Mount Washington where the peak of its snow-cap touches the pink sky. The hen-house door is open. The chickens are all on their roost, with their heads cuddled under their wings."

"Did you feed them?"

The boy clapped his hand over his mouth with a comical gesture of penitence, and dashed into the shed for a panful of corn, which he scattered over the ground, enticing the sleepy fowls by insinuating calls of "Chick, chick, chick, chick! Come, biddy, biddy, biddy, biddy! Come, chick, chick, chick, chick, chick!"

The man in the doorway smiled as over the misdemeanor of somebody very dear and lovable, and rising from his chair felt his way to a corner shelf, took down a box, and drew from it a violin swathed in a silk bag. He removed the covering with reverential hands. The tenderness of the face was like that of a young mother dressing or undressing her child. As he fingered the instrument his hands seemed to have become all eyes. They wandered caressingly over the polished surface as if enamored of the perfect thing that they had created, lingering here and there with rapturous tenderness on some special beauty,—the graceful arch of the neck, the melting curves of the cheeks, the delicious swell of the breasts.

When he had satisfied himself for the moment, he took the bow, and lifting the violin under his chin, inclined his head fondly toward it and began to play.

The tune at first seemed muffled, but had a curious bite, that began in distant echoes, but after a few minutes' the playing grew firmer and clearer, ringing out at last with velvety richness and strength until the atmosphere was satiated with harmony. No more ethereal note ever flew out of a bird's throat than Anthony Croft set free from this violin, his liebling, his "swan song," made in the year he had lost his eyesight.

Anthony Croft had been the only son of his mother, and she a widow. His boyhood had been exactly like that of all the other boys in Edgewood, save that he hated school a trifle more, if possible, than any of the others; though there was a unanimity of aversion in this matter that surprised and wounded teachers and parents.

The school was the ordinary "deestrick" school of that time; there were not enough scholars for what Cyse Higgins called a "degraded" school. The difference between Anthony and the other boys lay in the reason as well as the degree of his abhorrence.

He had come into the world a naked, starving human soul; he longed to clothe himself, and he was hungry and ever hungrier for knowledge; but never within the four walls of the village schoolhouse could he get hold of one fact that would yield him its secret sense, one glimpse of clear light that would shine in upon the "darkness which may be felt" in his mind, one thought or word that would feed his soul.

The only place where his longings were ever stilled, where he seemed at peace with himself, where he understood what he was made for, was out of doors in the woods. When he should have been poring over the sweet, palpitating mysteries of the multiplication table, his vagrant gaze was always on the open window near which he sat. He could never study when a fly buzzed on the window-pane; he was always standing on the toes of his bare feet, trying to locate and understand the buzz that puzzled him. The book was a mute, soulless thing that had no relation to his inner world of thought and feeling. He turned ever from the dead seven-times-six to the mystery of life about him.

He was never a special favorite with his teachers; that was scarcely to be expected. In his very early years, his pockets were gone through with every morning when he entered the school door, and the contents, when confiscated, would comprise a jew's-harp, a bit of catgut, screws whittled out of wood, tacks, spools, pins, and the like. But when robbed of all these he could generally secrete a piece of elastic, which, when put between his teeth and stretched to its utmost capacity, would yield a delightful twang when played upon with the forefinger. He could also fashion an interesting musical instrument in his desk by means of spools and catgut and bits of broken glass. The chief joy of his life was an old tuning-fork that the teacher of the singing school had given him, but, owing to the degrading and arbitrary censorship of pockets that prevailed, he never dared bring it into the schoolroom. There were ways, however, of evading inexorable law and circumventing base injustice. He hid the precious thing under a thistle just outside the window. The teacher had sometimes a brief season of apathy on hot afternoons, when she was hearing the primer class read, "I see a pig. The pig is big. The big pig can dig;" which stirring in phrases were always punctuated by the snores of the Hanks baby, who kept sinking down on his fat little legs in the line and giving way to slumber during the lesson. At such a moment Anthony slipped out of the window and snapped the tuning-fork several times,—just enough to save his soul from death,—and then slipped in again. He was caught occasionally, but not often; and even when he was, there were mitigating circumstances, for he was generally put under the teacher's desk for punishment. It was a dark, close, sultry spot, but when he was well seated, and had grown tied of looking at the triangle of elastic in the teacher's congress boot, and tired of wishing it was his instead of hers, he would tie one end of a bit of thread to the button of his gingham shirt, and, carrying it round his left ear several times, make believe he was Paganini languishing in prison and playing on a violin with a single string.

As he grew older there was no marked improvement, and Tony Croft was by general assent counted the laziest boy in the village. That he was lazy in certain matters merely because he was in a frenzy of industry to pursue certain others had nothing to do with the case, of course.

If any one had ever given him a task in which he could have seen cause working to effect, in which he could have found by personal experiment a single fact that belonged to him, his own by divine right of discovery, he would have counted labor or study all joy.

He was one incarnate Why and How, one brooding wonder and interrogation point. "Why does the sun drive away the stars? Why do the leaves turn red and gold? What makes the seed swell in the earth? From whence comes the life hidden in the egg under the bird's breast? What holds the moon in the sky? Who regulates her shining? Who moves the wind? Who made me, and what am I? Who, why, how whither? If I came from God but only lately, teach me his lessons first, put me into vital relation with life and law, and then give me your dead signs and equivalents for real things, that I may learn more and more, and ever more and ever more."

There was no spirit in Edgewood bold enough to conceive that Tony learned anything in the woods, but as there was never sufficient school money to keep the village seat of learning open more than half the year the boy educated himself at the fountain head of wisdom, and knowledge of the other half. His mother, who owned him for a duckling hatched from a hen's egg, and was never quite sure he would not turn out a black sheep and a crooked stick to boot, was obliged to confess that Tony had more useless information than any boy in the village. He knew just where to find the first Mayflowers, and would bring home the waxen beauties when other people had scarcely begun to think about the spring. He could tell where to look for the rare fringed gentian, the yellow violet, the Indian pipe. There were clefts in the rocks of the Indian Cellar where, when every one else failed, he could find harebells and columbines.

When his tasks were done, and the other boys were amusing themselves each in his own way, you would find Tony lying flat on the pine needles in the woods, listening to the notes of the wild birds, and imitating them patiently, til you could scarcely tell which was boy and which was bird; and if you could, the birds couldn't, for many a time he coaxed the bobolinks and thrushes to perch on the low boughs above his head and chirp to him as if he were a feathered brother. There was nothing about the building of nests with which he was not familiar. He could have taken hold and helped if the birds had not been so shy, and if he had had beak and claw instead of clumsy fingers. He would sit near a beehive for hours without moving, or lie prone in the sandy road, under the full glare of the sun, watching the ants acting out their human comedy; sometimes surrounding a favorite hill with stones, that the comedy might not be turned into a tragedy by a careless footfall. The cottage on the river road grew more and more to resemble a museum and herbarium as the years went by, and the Widow Croft's weekly house-cleaning was a matter that called for the exercise of Christian grace.

Still, Tony was a good son, affectionate, considerate, and obedient. His mother had no idea that he would ever be able, or indeed willing, to make a living; but there was a forest of young timber growing up, a small hay farm to depend upon, and a little hoard that would keep him out of the poorhouse when she died and left him to his own devices. It never occurred to her that he was in any way remarkable. If he were difficult to understand, it reflected more upon his eccentricity than upon her density. What was a woman to do with a boy of twelve who, when she urged him to drop the old guitar he was taking apart and hurry off to school, cried, "Oh, mother! when there is so much to learn in this world, it is wicked, wicked to waste time in school."

About this period Tony spent hours in the attic arranging bottles and tumblers into a musical scale. He also invented an instrument made of small and great, long and short pins, driven into soft board to different depths, and when the widow passed his door on the way to bed she invariable saw this barbaric thing locked up to the boy's breast, for he often played himself to sleep with it.

At fifteen he had taken to pieces and put together again, strengthened, soldered, tinkered, mended, and braced every accordion, guitar, melodeon, dulcimer, and fiddle in Edgewood, Pleasant River, and the neighboring villages. There was a little money to be earned in this way, but very little, as people in general regarded this "tinkering" as a pleasing diversion in which they could indulge him without danger. As an example of this attitude, Dr. Berry's wife's melodeon had lost two stops, the pedals had severed connection with the rest of the works, it wheezed like an asthmatic, and two black keys were missing. Anthony worked more than a week on its rehabilitation, and received in return Mrs. Berry's promise that the doctor would pull a tooth for him some time! This, of course, was a guerdon for the future, but it seemed pathetically distant to the lad who had never had a toothache in his life. He had to plead with Cyse Higgins for a week before that prudent young farmer would allow him to touch his five-dollar fiddle. He obtained permission at last only because by offering to give Cyse his calf in case he spoiled the violin. "That seems square," said Cyse doubtfully, "but after all, you can't play on a calf!" "Neither will your fiddle give milk, if you keep it long enough," retorted Tony; and this argument was convincing.

So great was his confidence in Tony's skill that Squire Bean trusted his father's violin to him, one that had been bought in Berlin seventy years before. It had been hanging on the attic wall for a half century, so that the back was split in twain, the sound-post lost, the neck and the tailpiece cracked. The lad took it home, and studied it for two whole evenings before the open fire. The problem of restoring it was quite beyond his abilities. He finally took the savings of two summers' "blueberry money" and walked sixteen miles to Portland, where he bought a book called The Practical Violinist. The Supplement proved to be a mine of wealth. Even the headings appealed to his imagination and intoxicated him with their suggestions,—On Scraping, Splitting, and Repairing Violins, Violin Players, Great Violinists, Solo Playing, etc.; and at the very end a Treatise on the Construction, Preservation, Repair, and Improvement of the Violin, by Jacob Augustus Friedheim, Instrument Maker to the Court of the Archduke of Weimar.

There was a good deal of moral advice in the preface that sadly puzzled the boy, who was always in a condition of chronic amazement at the village disapprobation of his favorite fiddle. That the violin did not in some way receive the confidence enjoyed by other musical instruments, he perceived from various paragraphs written by the worthy author of The Practical Violinist, as for example:—

"Some very excellent Christian people hold a strong prejudice against the violin because they have always known it associated with dancing and dissipation. Let it be understood that your violin is 'converted,' and such an obligation will no longer lie against it. ... Many delightful hours may be enjoyed by a young man, if he has obtained a respectable knowledge of his instrument, who otherwise would find the time hang heavy on his hands; or, for want of some better amusement, would frequent the dangerous and destructive paths of vice and be ruined forever. ... I am in hopes, therefore, my dear young pupil, that your violin will occupy your attention at just those very times when, if you were immoral or dissipated, you would be at the grogshop, gaming-table, or among vicious females. Such a use of the violin, notwithstanding the prejudices many hold against it, must contribute to virtue, and furnish abundance of innocent and entirely unobjectionable amusement. These are the views with which I hope you have adopted it, and will continue to cherish and cultivate it."

II.

"There is no bard in all the choir, ....... Not one of all can put in verse, Or to this presence could rehearse The sights and voices ravishing The boy knew on the hills in spring, When pacing through the oaks he heard Sharp queries of the sentry-bird, The heavy grouse's sudden whir, The rattle of the kingfisher."

Emerson's Harp.

Now began an era of infinite happiness, of days that were never long enough, of evenings when bedtime came all too soon. Oh that there had been some good angel who would have taken in hand Anthony Croft the boy, and, training the powers that pointed so unmistakably in certain directions, given to the world the genius of Anthony Croft, potential instrument maker to the court of St. Cecilia; for it was not only that he had the fingers of a wizard; his ear caught the faintest breath of harmony or hint of discord, as

"Fairy folk a-listening Hear the seed sprout in the spring, And for music to their dance Hear the hedge-rows wake from trance; Sap that trembles into buds Sending little rhythmic floods Of fairy sound in fairy ears. Thus all beauty that appears Has birth as sound to finer sense And lighter-clad intelligence."

As the universe is all mechanism to one man, all form and color to another, so to Anthony Croft the world was all melody. Notwithstanding all these gifts and possibilities, the doctor's wife advised the Widow Croft to make a plumber of him, intimating delicately that these freaks of nature, while playing no apparent part in the divine economy, could sometimes be made self-supporting.

The seventeenth year of his life marked a definite epoch in his development. He studied Jacob Friedheim's treatise until he knew the characteristics of all the great violin models, from the Amatis, Hieronymus, Antonius, and Nicolas, to those of Stradivarius, Guarnerius, and Steiner.

It was in this year, also, that he made a very precious discovery. While browsing in the rubbish in Squire Bean's garret to see if he could find the missing sound-post of the old violin, he came upon a billet of wood wrapped in cloth and paper. When unwrapped, it was plainly labeled "Wood from the Bean Maple at Pleasant Point; the biggest maple in York County, and believed to be one of the biggest in the State of Maine." Anthony found that the oldest inhabitant of Pleasant River remembered the stump of the tree, and that the boys used to jump over it and admire its proportions whenever they went fishing at the Point. The wood, therefore, was perhaps eighty or ninety years old. The squire agreed willingly that it should be used to mend the old violin, and told Tony he should have what was left for himself. When, by careful calculation, he found that the remainder would make a whole violin, he laid it reverently away for another twenty years, so that he should be sure it had completed its century of patient waiting for service, and falling on his knees by his bedside said, "I thank Thee, Heavenly Father, for this precious gift, and I promise from this moment to gather the most beautiful wood I can find, and lay it by where it can be used some time to make perfect violins, so that if any creature as poor and helpless as I am needs the wherewithal to do good work, I shall have helped him as Thou hast helped me." And according to his promise so he did, and the pieces of richly curled maple, of sycamore, and of spruce began to accumulate. They were cut from the sunny side of the trees, in just the right season of the year, split so as to have a full inch thickness towards the bark, and a quarter inch towards the heart. They were then laid for weeks under one of the falls in Wine Brook, where the musical tinkle, tinkle of the stream fell on the wood already wrought upon by years of sunshine and choruses of singing birds.

This boy, toiling not alone for himself, but with full and conscious purpose for posterity also, was he not worthy to wear the mantle of Antonius Stradivarius?

"That plain white-aproned man who stood at work Patient and accurate full fourscore years, Cherished his sight and touch by temperance, And since keen sense is love of perfectness, Made perfect violins, the needed paths For inspiration and high mastery."

And as if the year were not full enough of glory, the school-teacher sent him a book with a wonderful poem in it.

That summer's teaching had been the freak of a college student, who had gone back to his senior year strengthened by his experience of village life. Anthony Croft, who was only three or four years his junior, had been his favorite pupil and companion.

"How does Tony get along?" asked the Widow Croft when the teacher came to call.

"Tony? Oh, I can't teach him anything."

Tears sprang to the mother's eyes.

"I know he ain't much on book learning," she said apologetically, "but I'm bound he don't make you no trouble in deportment."

"I mean," said the school-teacher gravely, "that I can show him how to read a little Latin and do a little geometry, but he knows as much in one day as I shall ever know in a year."

Tony crouched by the old fireplace in the winter evenings, dropping his knife or his compasses a moment to read aloud to his mother, who sat in the opposite corner knitting:—

"Of old Antonio Stradivari,—him Who a good quarter century and a half ago Put his true work in the brown instrument, And by the nice adjustment of its frame Gave it responsive life, continuous With the master's finger-tips, and perfected Like them by delicate rectitude of use."

The mother listened with painful intentness. "I like the sound of it," she said, "but I can't hardly say I take in the full sense."

"Why mother," said the lad, in a rare moment of self-expression, "you know the poetry says he cherished his sight and touch by temperance; that an idiot might see a straggling line and be content, but he had an eye that winced at false work, and loved the true. When it says his finger-tips were perfected by delicate rectitude of use, I think it means doing everything as it is done in heaven, and that anybody who wants to make a perfect violin must keep his eye open to all the beautiful things God has made, and his ear open to all the music he has put into the world, and then never let his hands touch a piece of work that is crooked or straggling or false, till, after years and years of rightness, they are fit to make a violin like the squire's, a violin that can say everything, a violin that an angel wouldn't be ashamed to play on."

Do these words seem likely ones to fall from the lips of a lad who had been at the tail of his class ever since his primer days? Well, Anthony was seventeen now, and he was "educated," in spite of sorry recitations,—educated, the Lord knows how! Yes, in point of fact the Lord does know how! He knows how the drill and pressure of the daily task, still more the presence of the high ideal, the inspiration working from within, how these educate us.

The blind Anthony Croft sitting in the kitchen doorway had seemingly missed the heights of life he might have trod, and had walked his close on fifty years through level meadows of mediocrity, a witch in every finger-tip waiting to be set to work, head among the clouds, feet stumbling, eyes and ears open to hear God's secret thought; seeing and hearing it, too, but lacking force to speak it forth again; for while imperious genius surmounts all obstacles, brushes laws and formulas from its horizon, and with its own free soul sees its "path and the outlets of the sky," potential genius forever needs an angel of deliverance to set it free.

Poor Anthony Croft, or blessed Anthony Croft, I know not which,—God knows! Poor he certainly was, yet blessed after all. "One thing I do," said Paul. "One thing I do," said Anthony. He was not able to realize his ideals, but he had the "angel aim" by which he idealized his reals.

O waiting heart of God! how soon would thy kingdom come if we all did our allotted tasks, humble or splendid, in this consecrated fashion!

III.

"Therein I hear the Parcae reel The threads of man at their humming wheel, The threads of life and power and pain, So sweet and mournful falls the strain."

Emerson's Harp.

Old Mrs. Butterfield had had her third stroke of paralysis, and died of a Sunday night. She was all alone in her little cottage on the river bank, with no neighbor nearer than Croft's, and nobody there but a blind man and a small boy. Everybody had told her it was foolish to live alone in a house on the river road, and everybody was pleased in a discreet and chastened fashion of course, that it had turned out exactly as they had predicted.

Aunt Mehitable Tarbox was walking up to Milliken's Mills, with her little black reticule hanging over her arm, and noticing that there was no smoke coming out of the chimney, and that the hens were gathered about the kitchen door clamoring for their breakfast, she thought it best to stop and knock. No response followed the repeated blows from her hard knuckles. She then tapped smartly on Mrs. Butterfield's bedroom window with her thimble finger. This proving of no avail, she was obliged to pry open the kitchen shutter, split open a mosquito netting with her shears, and crawl into the house over the sink. This was a considerable feat for a somewhat rheumatic elderly lady, but this one never grudged trouble when she wanted to find out anything.

When she discovered that her premonitions were correct, and that old Mrs. Butterfield was indeed dead, her grief at losing a pleasant acquaintance was largely mitigated by her sense of importance at being first on the spot, and chosen by Providence to take command of the situation. There were no relations in the village; there was no woman neighbor within a mile: it was therefore her obvious Christian duty not only to take charge of the remains, but to conduct such a funeral as the remains would have wished for herself.

The fortunate Vice-President suddenly called upon by destiny to guide the ship of state, the general who sees a possible Victoria Cross in a hazardous engagement, can have a faint conception of aunt Hitty's feeling on this momentous occasion. Funerals were the very breath of her life. There was no ceremony, either of public or private import, that, to her mind, approached a funeral in real satisfying interest. Yet, with distinct talent in this direction, she had always been "cabined, cribbed, confined" within hopeless limitations. She had assisted in a secondary capacity at funerals in the families of other people, but she would have reveled in personally conducted ones. The members of her own family stubbornly refused to die, however, even the distant connections living on and on to a ridiculous old age; and if they ever did die, by reason of a falling roof, shipwreck, or conflagration, they generally died in Texas or Iowa, or some remote State where aunt Hitty could not follow the hearse in the first carriage. This blighted ambition was a heart sorrow of so deep and sacred a character that she did not even confess it to "Si," as her appendage of a husband was called.

Now at last her chance for planning a funeral had come. Mrs. Butterfield had no kith or kin save her niece, Lyddy Ann, who lived in Andover, or Lawrence, or Haverhill Massachusetts,—aunt Hitty couldn't remember which, and hoped nobody else could. The niece would be sent for when they found out where she lived; meanwhile the funeral could not be put off.

She glanced round the house preparatory to locking it up and starting to notify Anthony Croft. She would just run over and talk to him about ordering the coffin; then she could attend to all other necessary preliminaries herself. The remains had been well-to-do, and there was no occasion for sordid economy, so aunt Hitty determined in her own mind to have the latest fashion in everything, including a silver coffin plate. The Butterfield coffin plates were a thing to be proud of. They had been sacredly preserved for years and years, and the entire collection—numbering nineteen in all had been framed, and adorned the walls of the deceased lady's best room. They were not of solid silver, it is true, but even so it was a matter of distinction to have belonged to a family that could afford to have nineteen coffin plates of any sort.

Aunt Hitty planned certain dramatic details as she walked town the road to Croft's. It came to her in a burst of inspiration that she would have two ministers: one for the long prayer, and one for the short prayer and the remarks. She hoped that Elder Weeks would be adequate in the latter direction. She knew she couldn't for the life of her think of anything interesting about Mrs. Butterfield, save that she possessed nineteen coffin plates, and brought her hens to Edgewood every summer for their health; but she had heard Elder Weeks make a moving discourse out of less than that. To be sure, he needed priming, but she was equal to that. There was Ivory Brown's funeral: how would that have gone on if it hadn't been for her? Wasn't the elder ten minutes late, and what would his remarks have amounted to without her suggestions? You might almost say she was the author of the discourse, for she gave him all the appropriate ideas. As she had helped him out of the wagon she had said: "Are you prepared? I thought not; but there's no time to lose. Remember there are aged parents; two brothers living, one railroading in Spokane Falls, the other clerking in Washington, D. C. Don't mention the Universalists,—there's ben two in the fam'ly; nor insanity,—there 's ben one o' them. The girl in the corner by the clock is the one that the remains has been keeping comp'ny with. If you can make some genteel allusions to her, it'll be much appreciated by his folks."

As to the long prayer, she knew that the Rev. Mr. Ford could be relied on to pray until aunt Becky Burnham should twitch him by the coat tails. She had done it more than once. She had also, on one occasion, got up and straightened his ministerial neckerchief, which he had gradually "prayed" around his saintly neck until it was behind the right ear.

These plans proved so fascinating to aunt Hitty that she walked quite half a mile beyond Croft's, and was obliged to retrace her steps. She conceived bands of black alpaca for the sleeves and hats of the pallbearers, and a festoon of the same over the front gate, if there should be any left over. She planned the singing by the choir. There had been no real choir-singing at any funeral in Edgewood since the Rev. Joshua Beckwith had died. She would ask them to open with—

Rebel mourner, cease your weepin'. You too must die.

This was a favorite funeral hymn. The only difficulty would be in keeping aunt Becky Burnham from pitching it in a key where nobody but a soprano skylark, accustomed to warble at a great height, could possibly sing it. It was generally given at the grave, when Elder Weeks officiated; but it never satisfied aunt Hitty, because the good elder always looked so unpicturesque when he threw a red bandanna handkerchief over his head before beginning the twenty-seven verses. After the long prayer, she would have Almira Berry give for a solo—

This gro-o-oanin' world 's too dark and dre-e-ar for the saints' e - ter - nal rest,

This hymn, if it did not wholly reconcile one to death, enabled one to look upon life with sufficient solemnity. It was a thousand pities, she thought, that the old hearse was so shabby and rickety, and that Gooly Eldridge, who drove it, would insist on wearing a faded peach-blow overcoat. It was exasperating to think of the public spirit at Egypt, and contrast it with the state of things at Pleasant River. In Egypt they had sold the old hearse house for a sausage shop, and now they were having hearse sociables every month to raise money for a new one.

All these details flew through aunt Hitty's mind in fascinating procession. There shouldn't be "a hitch" anywhere. There had been a hitch at her last funeral, but she had been only an assistant there. Matt Henderson had been struck by lightning at the foot of Squire Bean's old nooning tree, and certain circumstances combined to make the funeral one of unusual interest, so much so that fat old Mrs. Potter from Deerwander created a sensation at the cemetery. She was so anxious to get where she could see everything to the best advantage that she crowded too near the bier, stepped on the sliding earth, and pitched into the grave. As she weighed over two hundred pounds, and was in a position of some disadvantage, it took five men to extricate her from the dilemma, and the operation made a long and somewhat awkward break in the religious services. Aunt Hitty always said of this catastrophe, "If I'd 'a' ben Mis' Potter, I'd 'a' ben so mortified I believe I'd 'a' said, 'I wa'n't plannin' to be buried, but now I'm in here I declare I'll stop!'"

Old Mrs. Butterfield's funeral was not only voted an entire success by the villagers, but the seal of professional approval was set upon it by an undertaker from Saco, who declared that Mrs. Tarbox could make a handsome living in the funeral line anywhere. Providence, who always assists those who assist themselves, decreed that the niece Lyddy Ann should not arrive until the aunt was safely buried; so, there being none to resist her right or grudge her the privilege aunt Hitty, for the first time in her life, rode in the next buggy to the hearse. Si, in his best suit, a broad weed and weepers, drove Cyse Higgins's black colt, and aunt Hitty was dressed in deep mourning, with the Widow Buzzell's crape veil over her face, and in her hand a palmleaf fan tied with a black ribbon. Her comment to Si, as she went to her virtuous couch that night, was: "It was an awful dry funeral, but that was the only flaw in it. It would 'a' ben perfect if there' ben anybody to shed tears. I come pretty nigh it myself, though I ain't no relation, when Elder Weeks said, 'You'll go round the house, my sisters, and Mis' Butterfield won't be there; you'll go int' the orchard, and Mis' Butterfield won't be there; you'll go int' the barn and Mis' Butterfield won't be there; you'll go int' the shed, and Mis' Butterfield won't be there; you'll go int' the hencoop, and Mis' Butterfield won't be there!' That would 'a' drawed tears from a stone most, 'specially sence Mis' Butterfield set such store by her hens."

And this is the way that Lyddy Butterfield came into her kingdom, a little lone brown house on the river's brim. She had seen it only once before when she had driven out from Portland, years ago, with her aunt. Mrs. Butterfield lived in Portland, but spent her summers in Edgewood on account of her chickens. She always explained that the country was dreadful dull for her, but good for the hens; they always laid so much better in the winter time.

Lyddy liked the place all the better for its loneliness. She had never had enough of solitude, and this quiet home, with the song of the river for company, if one needed more company than chickens and a cat, satisfied all her desires, particularly as it was accompanied by a snug little income of two hundred dollars a year, a meagre sum that seemed to open up mysterious avenues of joy to her starved, impatient heart.

When she was a mere infant, her brother was holding her on his knee before the great old-fashioned fireplace heaped with burning logs. A sudden noise startled him, and the crowing, restless baby gave an unexpected lurch, and slipped, face downward, into the glowing embers. It was a full minute before the horror-stricken boy could extricate the little creature from the cruel flame that had already done its fatal work. The baby escaped with her life, but was disfigured forever. As she grew older, the gentle hand of time could not entirely efface the terrible scars. One cheek was wrinkled and crimson, while one eye and the mouth were drawn down pathetically. The accident might have changed the disposition of any child, but Lyddy chanced to be a sensitive, introspective bit of feminine humanity, in whose memory the burning flame was never quenched. Her mother, partly to conceal her own wounded vanity, and partly to shield the timid, morbid child, kept her out of sight as much as possible; so that at sixteen, when she was left an orphan, she had lived almost entirely in solitude.

She became, in course of time, a kind of general nursery governess in a large family of motherless children. The father was almost always away from home; his sister kept the house, and Lyddy stayed in the nursery, bathing the brood and putting them to bed, dressing them in the morning, and playing with them in the safe privacy of the back garden or the open attic. They loved her, disfigured as she was, for the child despises mere externals, and explores the heart of things to see whether it be good or evil,—but they could never induce her to see strangers, nor to join any gathering of people.

The children were grown and married now, and Lyddy was nearly forty when she came into possession of house and lands and fortune; forty, with twenty years of unexpended feeling pent within her. Forty, that is rather old to be interesting, but age is a relative matter. Haven't you seen girls of four-and-twenty who have nibbled and been nibbled at ever since they were sixteen, but who have neither caught anything nor been caught? They are old, if you like, but Lyddy was forty and still young, with her susceptibilities cherished, not dulled, and with all the "language of passion fresh and rooted as the lovely leafage about a spring."

IV.

"He shall daily joy dispense Hid in song's sweet influence."

Emerson's Merlin.

Lyddy had very few callers during her first month as a property owner in Edgewood. Her appearance would have been against her winning friends easily in any case, even if she had not acquired the habits of a recluse. It took a certain amount of time, too, for the community to get used to the fact that old Mrs. Butterfield was dead, and her niece Lyddy Ann living in the cottage on the river road. There were numbers of people who had not yet heard that old Mrs. Butterfield had bought the house from the Thatcher boys, and that was fifteen years ago; but this was not strange, for, notwithstanding aunt Hitty's valuable services in disseminating general information, there was a man living on the Bonny Eagle road who was surprised to hear that Daniel Webster was dead, and complained that folks were not so long-lived as they used to be.

Aunt Hitty thought Lyddy a Goth and a Vandal because she took down the twenty silver coffin plates and laid them reverently away. "Mis' Butterfield would turn in her grave," she said, "if she knew it. She ain't much of a housekeeper, I guess," she went on, as she cut over Dr. Berry's old trousers into briefer ones for Tommy Berry. "She gives considerable stuff to her hens that she'd a sight better heat over and eat herself, in these hard times when the missionary societies can't hardly keep the heathen fed and clothed and warmed—no, I don't mean warmed, for most o' the heathens live in hot climates, somehow or 'nother. My back door's jest opposite hers; it's across the river, to be sure, but it's the narrer part, and I can see everything she does as plain as daylight. She washed a Monday, and she ain't taken her clothes in yet, and it's Thursday. She may be bleachin' of 'em out, but it looks slack. I said to Si last night I should stand it till 'bout Friday,—seein' 'em lay on the grass there, but if she didn't take 'em in then, I should go over and offer to help her. She has a fire in the settin'-room 'most every night, though we ain't had a frost yet; and as near's I can make out, she's got full red curtains hangin' up to her windows. I ain't sure, for she don't open the blinds in that room till I get away in the morning, and she shuts 'em before I get back at night. Si don't know red from green, so he's useless in such matters. I'm going home late to-night, and walk down on that side o' the river, so't I can call in after dark and see what makes her house light up as if the sun was settin' inside of it."

As a matter of fact, Lyddy was reveling in house-furnishing of a humble sort. She had a passion for color. There was a red-and-white straw matting on the sitting-room floor. Reckless in the certain possession of twenty dollars a month, she purchased yards upon yards of turkey red cotton; enough to cover a mattress for the high-backed settle, for long curtains at the windows, and for cushions to the rockers. She knotted white fringes for the table covers and curtains, painted the inside of the fireplace red, put some pots, of scarlet geraniums on the window-sills, filled newspaper rack with ferns and tacked it over an ugly spot in the wall, edged her work-basket with a tufted trimming of scarlet worsted, and made an elaborate photograph case of white crash and red cotton that stretched the entire length of the old-fashioned mantelshelf, and held pictures of Mr. Reynolds, Miss Elvira Reynolds, George, Susy, Anna, John, Hazel, Ella, and Rufus Reynolds, her former charges. When all this was done, she lighted a little blaze on the hearth, took the red curtains from their hands, let them fall gracefully to the floor, and sat down in her rocking-chair, reconciled to her existence for absolutely the first time in her forty years.

I hope Mrs. Butterfield was happy enough in Paradise to appreciate and feel Lyddy's joy. I can even believe she was glad to have died, since her dying could bring such content to any wretched living human soul. As Lydia sat in the firelight, the left side of her poor face in shadow, you saw that she was distinctly harmonious. Her figure, clad in plain black-and-white calico dress, was a graceful, womanly one. She had beautifully sloping shoulders and a sweet wrist. Her hair was soft and plentiful, and her hands were fine, strong, and sensitive. This possibility of rare beauty made her scars and burns more pitiful, for if a cheap chrome has smirch across its face, we think it a matter of no moment, but we deplore the smallest scratch or blur on any work of real art.

Lydia felt a little less bitter and hopeless about life when she sat in front of her own open fire, after her usual twilight walk. It was her habit to wander down the wooded road after her simple five-o'clock supper, gatherings ferns or goldenrod or frost flowers for her vases; and one night she heard, above the rippling of the river, the strange, sweet, piercing sound of Anthony Croft's violin.

She drew nearer, and saw a middle-aged man sitting in the kitchen doorway, with a lad of ten or twelve years leaning against his knees. She could tell little of his appearance, save that he had a high forehead, and hair that waved well back from it in rather an unusual fashion. He was in his shirt-sleeves, but the gingham was scrupulously clean, and he had the uncommon refinement of a collar and necktie. Out of sight herself, Lyddy drew near enough to hear; and this she did every night without recognizing that the musician was blind. The music had a curious effect upon her. It was a hitherto unknown influence in her life, and it interpreted her, so to speak, to herself. As she sat on the bed of brown pine needles, under a friendly tree, her head resting against its trunk, her eyes half closed, the tone of Anthony's violin came like a heavenly message to a tired, despairing soul. Remember that in her secluded life she had heard only such harmony as Elvira Reynolds evoked from her piano or George Reynolds from his flute, and the Reynolds temperament was distinctly inartistic.

Lyddy lived through a lifetime of emotion in these twilight concerts. Sometimes she was filled with an exquisite melancholy from which there was no escape; at others, the ethereal purity of the strain stirred her heart with a strange, sweet vision of mysterious joy; joy that she had never possessed, would never possess; joy whose bare existence she never before realized. When the low notes sank lower and lower with their soft wail of delicious woe, she bent forward into the dark, dreading that something would be lost in the very struggle of listening; then, after a, pause, a pure human tone would break the stillness, and soaring, bird-like, higher and higher, seem to mount to heaven itself, and, "piercing its starry floors," lift poor scarred Lydia's soul to the very grates of infinite bliss. In the gentle moods that stole upon her in those summer twilights she became a different woman, softer in her prosperity than she had ever been in her adversity; for some plants only blossom in sunshine. What wonder if to her the music and the musician became one? It is sometimes a dangerous thing to fuse the man and his talents in this way; but it did no harm here, for Anthony Croft was his music, and the music was Anthony Croft. When he played on his violin, it was as if the miracle of its fashioning were again enacted; as if the bird on the quivering bough, the mellow sunshine streaming through the lattice of green leaves, the tinkle of the woodland stream, spoke in every tone; and more than this, the hearth-glow in whose light the patient hands had worked, the breath of the soul bending itself in passionate prayer for perfection, these, too, seemed to have wrought their blessed influence on the willing strings until the tone was laden with spiritual harmony. One might indeed have sung of this little red violin—that looked to Lyddy, in the sunset glow, as if it were veneered with rubies—all that Shelley sang of another perfect instrument:—