It was true that Jethro Fawe loved the fiddle. He had played it in many lands. Twice, in order to get inside the palace of a monarch for a purpose—once in Berlin and once in London—he had played the second violin in a Tzigany orchestra. He turned the fiddle slowly round, looking at it with mechanical intentness. Through the passion of emotion the sure sense of the musician was burning. His fingers smoothed the oval brown breast of the instrument with affection. His eyes found joy in the colour of the wood, which had all the graded, merging tints of Autumn leaves.
“It is old—and strange,” he said, his eyes going from Berry to Ingolby and back again with a veiled look, as though he had drawn down blinds before his inmost thoughts. “It was not made by a professional.”
“It was made in the cotton-field by a slave,” observed old Berry sharply, yet with a content which overrode antipathy to his visitor.
Jethro put the fiddle to his chin, and drew the bow twice or thrice sweepingly across the strings. Such a sound had never come from Berry’s violin before. It was the touch of a born musician who certainly had skill, but who had infinitely more of musical passion.
“Made by a slave in the cotton-fields!” Jethro said with a veiled look, and as though he was thinking of something else: “‘Dordi’, I’d like to meet a slave like that!”
At the Romany exclamation Ingolby swept the man with a searching look. He had heard the Romany wife of Ruliff Zaphe use the word many years ago when he and Charley Long visited the big white house on the hill. Was the man a Romany, and, if so, what was he doing here? Had it anything to do with Gabriel Druse and his daughter? But no—what was there strange in the man being a Romany and playing the fiddle? Here and there in the West during the last two years, he had seen what he took to be Romany faces. He looked to see the effect of the stranger’s remark on old Berry.
“I was a slave, and I was like that. My father made that fiddle in the cotton-fields of Georgia,” the aged barber said.
The son of a race which for centuries had never known country or flag or any habitat, whose freedom was the soul of its existence, if it had a soul; a freedom defying all the usual laws of social order—the son of that race looked at the negro barber with something akin to awe. Here was a man who had lived a life which was the staring antithesis of his own, under the whip as a boy, confined to compounds; whose vision was constricted to the limits of an estate; who was at the will of one man, to be sold and trafficked with like a barrel of herrings, to be worked at another’s will—and at no price! This was beyond the understanding of Jethro Fawe. But awe has the outward look of respect, and old Berry who had his own form of vanity, saw that he had had a rare effect on the fellow, who evidently knew all about fiddles. Certainly that was a wonderful sound he had produced from his own cotton-field fiddle.
In the pause Ingolby said to Jethro Fawe, “Play something, won’t you? I’ve got business here with Mr. Berry, but five minutes of good music won’t matter. We’d like to hear him play—wouldn’t we, Berry?”
The old man nodded assent. “There’s plenty of music in the thing,” he said, “and a lot could come out in five minutes, if the right man played it.”