Every one looked up. There, in the parlour door, stood the stranger, with his coat off, his violin hugged close under his chin, his right arm making the bow fly over the strings, his black eyes sparkling, and his stockinged feet marking time to the tune.
“DANSEZ! DANSEZ,” he cried, “EN AVANT! Don’ spik’. Don’ res’! Ah’ll goin’ play de feedle fo’ yo’ jess moch yo’ lak’, eef yo’ h’only DANSE!”
The music gushed from the bow like water from the rock when Moses touched it. Tune followed tune with endless fluency and variety—polkas, galops, reels, jigs, quadrilles; fragments of airs from many lands—“The Fisher’s Hornpipe,” “Charlie is my Darling,” “Marianne s’en va-t-au Moulin,” “Petit Jean,” “Jordan is a Hard Road to Trabbel,” woven together after the strangest fashion and set to the liveliest cadence.
It was a magical performance. No one could withstand it. They all danced together, like the leaves on the shivering poplars when the wind blows through them. The gentle Serena was swept away from her stool at the organ as if she were a little canoe drawn into the rapids, and Bill Moody stepped high and cut pigeon-wings that had been forgotten for a generation. It was long after midnight when the dancers paused, breathless and exhausted.
“Waal,” said Hose Ransom, “that’s jess the hightonedest music we ever had to Bytown. You ‘re a reel player, Frenchy, that’s what you are. What’s your name? Where’d you come from? Where you goin’ to? What brought you here, anyhow?”
“MOI?” said the fiddler, dropping his bow and taking a long breath. “Mah nem Jacques Tremblay. Ah’ll ben come fraum Kebeck. W’ere goin’? Ah donno. Prob’ly Ah’ll stop dis place, eef yo’ lak’ dat feedle so moch, hein?”
His hand passed caressingly over the smooth brown wood of the violin. He drew it up close to his face again, as if he would have kissed it, while his eyes wandered timidly around the circle of listeners, and rested at last, with a question in them, on the face of the hotel-keeper. Moody was fairly warmed, for once, out of his customary temper of mistrust and indecision. He spoke up promptly.
“You kin stop here jess long’s you like. We don’ care where you come from, an’ you need n’t to go no fu’ther, less you wanter. But we ain’t got no use for French names round here. Guess we ‘ll call him Fiddlin’ Jack, hey, Sereny? He kin do the chores in the day-time, an’ play the fiddle at night.”
This was the way in which Bytown came to have a lover of music among its permanent inhabitants.