Dominie Dean: A Novel

by Ellis Parker Butler

with an arm that jingled with bracelets as her horses' bridles jingled with silver-plated chains.

Her knowledge of music was slight—she could just about pick out a tune on her harp by note—but she called in Professor Schwerl and made him pound further knowledge into her head. The hot-tempered old German did it. He swore at her, got red in the face, perspired. It was like pouring water on a duck's back, but some drops clung between the feathers, and Lucille knew how to make a drop do duty as a pailful. She took charge of the church music, reorganized the choir, and made the church think the new music was much better, than the old.

And so it was. She added Professor Schwerl and his violin to the organ. Theoretically this was to increase the volume of sweet sounds; in effect it made old Schwerl the hidden director of the choir, with Lucille as the jingling, rustling figurehead. So, step by step, Lucille became a real power in the church. The trustees and elders had little faith in her wisdom; they had immense respect for her ability to have her own way, whether it was right or wrong.

Lucille, having won her place in the church, set about creating a “salon.” Her first idea was to make her parlor the gathering place of all the wit and wisdom of Riverbank, as Madame de Staël made her salon the gathering place of the wit and wisdom of Paris. Perhaps nothing gives a better insight into the character of Lucille than this: her attempt to create a salon—of which she should be the star—in Riverbank. She soon found that the wit and wisdom of our small Iowa town was not willing to sit in a parlor and talk about Michael Angelo. The women were abashed before the culture they imagined Lucille to have. The men simply did not come. Not to be defeated, Lucille organized a “literary society.” By including only a few of her church acquaintances she gave the suggestion that the organization was “exclusive.” By setting as the first topic the poems of Matthew Arnold—then hardly heard of in Riverbank—she suggested that the society was to be erudite. The combination did all she had hoped. Admission to Lucille's literary society became Riverbank's most prized social plum.

Few in Riverbank had any real affection for Lucille, but affection was not what she sought. She wanted prominence and power, and even the men who had scorned her salon idea soon found she had become, in some mysterious way, an “influence.” The State senator, when he came to Riverbank, always “put up” at Lucille's mansion instead of at a hotel as formerly. When the men of the town wished signatures to a petition, or money subscriptions to any promotion scheme—such as the new street railway—the first thought was: “Get Lucille Hardcome to take it up; she'll put it through.” In such affairs she did not bother with the lesser names; some fifteen or twenty of the “big” men she would write on her list and for a few days her blacks and her low-hung carriage would be seen standing in front of prominent doors, and Lucille would have secured all, or nearly all, the signatures she sought.

At first Lucille paid little attention to David. She treated him much as she treated the colorless Mr. Prell, our Sunday school superintendent: as if he were a useful but unimportant church attachment, but otherwise not amounting to much. It was not until the affair of the church organist showed her that David was a worthy antagonist that Lucille thought of David as other than a sort of elevated hired man.

Far back in the days when David came to Riverbank, Miss Hurley (Miss Jane Hurley, not Miss Mary) had volunteered to play the organ when Mrs. Dougal gave it up because of the coming of the twins. That must have been before the war; and the organ was a queer little box of a thing that could be carried about with little trouble. It was hardly better than a pitch pipe. It served to set the congregation on (or off) the key, and was immediately lost in the rough bass and shrill treble of the congregational vocal efforts. Later, when the Hardcomes came to Riverbank and Ellen Hardcome's really excellent soprano suggested a quartet choir, the “new” organ had been bought. It was thought to be a splendid instrument. In appearance it was a sublimated parlor organ, a black walnut affair that had Gothic aspirations and arose in unaccountable spires and points. We Presbyterians were properly proud of it. With our choir of four, our new organ and Miss Hurley learning a new voluntary or offertory every month or so, we felt we had reached the acme in music. We used to gather around Miss Hurley after one of her new “pieces” and congratulate her, quite as we gathered around David and congratulated him when he gave us a sermon we liked especially well.

The Episcopalians gave us our first shock when they built their little church—spireless, indeed, so that their bell had to be set on a scaffold in the back yard—but with a pipe organ actually built into the church. We figured that seven, at least, of our congregation went over to the Episcopalians on account of the pipe organ. The Methodists were but a year or two later. I do not remember whether the Congregationalists were a year before or a year after the Methodists, but the net result was that we Presbyterians and the United Brethren were the last to lag along, and the United Brethren had neither our size nor wealth. Not that our wealth was much to brag of.

After her typhoid Ellen Hardcome's voice broke—the disease “settled in her throat,” as we said then—and she stepped out of the choir to make way for little Mollie Mitchell, who sang like a bird and had a disposition like one of Satan's imps. Hardly had Lucille Hardcome taken charge of our church music than she began her campaign for a pipe organ. By that time the “new” organ was the “old” organ and actually worse than the old “old” organ had ever been. It was in the habit of emitting occasional uncalled-for groans and squeaks and at times all its efforts were accompanied by a growl like the drone of a bagpipe. The blind piano tuner had long since refused to have anything more to do with it, and Merkle, the local gun and lock smith, tinkered it nearly every week. It was comical to see old Schwerl roll his eyes in agony as he played his violin beside it.

As Merkle said, repairing musical instruments was not his business, and he had to “study her up from the ground.” He did his best, but probably the logic of his repair work was based on a wrong premise. We never knew, when Merkle entered the church on a Saturday to correct the trouble that evolved during Friday night's choir practice, what the old black walnut monstrosity would do on Sunday.