"Gently! gently!" he would say; "there is room for everybody. This knee is for Gussie Gorman, this one for Joe, because they are the smallest, you know. Now are you ready?" And then he would whisper fairy stories, smiling at the ceiling, and making feeble gestures with his wasted old hands.
The end came one day after he had lain for hours in a stupor. He stirred suddenly and asked for his violin.
"I must go—to the—theater, Nancy," he murmured. "I—do not want—to be—a—burden."
They laid the instrument in his arms, and his fingers groped feebly over the strings; then his chin sank into its old accustomed place, and a great light dawned in his eyes. Mr. Demry, who was used to seeing invisible things, had evidently caught the final vision.
That night, worn with nursing and full of grief for the passing of her old friend, Nance threw a coat about her and slipped out on the terrace. Above her, nebulous stars were already appearing, and their twinkling was answered by responsive gleams in the city below. Against the velvety dusk two tall objects towered in the distance, the beautiful Gothic spire of the cathedral, and the tall, unseemly gas pipe of Clarke's Bottle Factory. Between them, under a haze of smoke and grime, lay Calvary Alley.
"I don't know which is worse," thought Nance fiercely, "to be down there in the mess, fighting and struggling and suffering to get the things you want, or up here with the mummies who haven't got anything left to wish for. I wish life wasn't just a choice between a little hard green apple and a rotten big one!"
She leaned her elbows on the railing and watched the new moon dodging behind the tree trunks and, as she watched, she grappled with the problem of life, at first bitterly and rebelliously, then with a dawning comprehension of its meaning. After all was the bishop, with his conspicuous virtues and his well-known dislike of children, any better than old Mr. Demry, with his besetting sin and his beautiful influence on every child with whom he came in contact? Was Mr. Clarke, working children under age in the factory to build up a great fortune for his son, very different from Mr. Lavinski, with his sweat-shop, hoarding pennies for the ambitious Ikey? Was Mrs. Clarke, shirking her duty to her father, any happier or any better than Mrs. Snawdor, shirking hers to her children? Was Mac, adored and petted and protected, any better than Birdie, now in the state asylum paying the penalty of their joint misdeed? Was the tragedy in the great house back of her any more poignant than the tragedy of Dan Lewis bound by law to an insane wife and burdened with a child that was not his own? She seemed to see for the first time the great illuminating truth that the things that make men alike in the world are stronger than the things that make them different. And in this realization an overwhelming ambition seized her. Some hidden spiritual force rose to lift her out of the contemplation of her own interests into something of ultimate value to her fellowmen.
After all, those people down there in Calvary Alley were her people, and she meant to stand by them. It had been the dream of her life to get out and away, but in that moment she knew that wherever she went, she would always come back. Others might help from the top, but she could help understandingly from the bottom. With the magnificent egotism of youth, she outlined gigantic schemes on the curtain of the night. Some day, somehow, she would make people like the Clarkes see the life of the poor as it really was, she would speak for the girls in the factories, in the sweatshops, on the stage. She would be an interpreter between the rich and the poor and make them serve each other.
"Nance!" called an injured voice from the music room behind her, "what in the mischief are you doing out there in the cold? Come on in here and amuse me. I'm half dead with the dumps!"
"All right, Mr. Mac. I'm coming," she said cheerfully, as she stepped in through the French window and closed it against her night of dreams.