Читать книгу Rodman the Keeper: Southern Sketches - Constance Fenimore Woolson - Страница 6

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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, door-less, 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 is 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.