On this world, enter, upper left stage, Leila the maid.
"Oh, Miss Laura, honey, what you bin' doin'? Dey ain't nothin' but no-'count beggars, chile. Don't you know dey mought 'a' come indo's and carried off all de silver? Dat's just de kind would steal fum you when you warn't lookin'. I ain't right sho' now dey ain't got some o' de silver in dey pockets!" And she took savage stock of what lay on the table.
O Leila, ingenuous mind! Dearly as I loved her, how little she knew! How far she was from understanding the habits and predilections of the gods! Would they trouble, do you think, to take a silver knife or fork, who can take away the priceless riches of childhood with them? Would they pause to purloin a mere petty silver spoon, who can carry off an entire golden period of your existence, and leave you with the leaden questions and dull philosophy and heavy responsibility of older years?
I should have asked their names, that I might set these in my prayers, but I had not had presence of mind enough to do that; so, that night, while I knelt by my bed, alone in the moonlight, a very devout little girl, there stood there, shadowy in the shadows, and among my nearest and dearest, on whom I asked the Lord's blessing, the old harp and violin; while, with my head buried passionately in my hands, I begged Providence to have an especial care of these new friends of my heart, to bless them, to let its face shine upon them, and to give them peace.
Musical beggars! I have seen them often since, in one guise or another. Sometimes they trumpet on the trombone or cornet, or blow fearful blasts upon the French horn; I have known them to finesse upon the flute or flageolet. These differences are but inconsiderable. Always I find them equally mighty. I have thought sometimes to get past them with giving them only a great deal more than I could afford. Useless frugality! futile economy! For still they will be laying ghostly hands upon you; still will they be exacting a heavier tribute and demanding that gold and silver of the soul which, as Plato is so well aware, is how infinitely more precious.
Though to outward appearance they are busy with their instruments, how they lay ghostly hands upon your imagination. How they conjure up before the inward eye themselves as they might have been, to levy a new tax upon you. The man with the horn, he who plays always off the key, and always a little ahead of the others, he, it is now mysteriously revealed to you, had meant perhaps, at the very least, to play in an orchestra. And the baggy battered old violin was to have wiped his heated brow with a grand gesture, and bowed condescendingly over his collar to metropolitan audiences, had not his dreams so unaccountably miscarried. And the old thread-bare harp-player, his shabbiness and his bitter face to the contrary notwithstanding, had meant, had really meant, to pluck some sweetness out of life. And the harp itself (yes, even so extensive is the occult power they wield) makes its own special appeal to you, and with its taste for delicacy seems suddenly like a dull tormented thing, swaying and trembling under the stiff sullen fingers of its master, there on the garish pavement—an instrument which, but for the uncertainty of life (ah, the uncertainty of life!), might have responded how devotedly, in the tempered light of a curtained alcove, to the touch of delicate fingers.
All this they conjure up before the mind's eye, ere they stop their excruciating playing. Then the violin, at the very moment that should have been his gracious one, counts the miserably few pennies. The sullen horn, his instrument tucked under his arm, goes on, still a stave ahead of the rest, a sodden expression in his eyes. The old harpist swings the harp rudely over his shoulder, and gives the strap an extra twitch to ease the dull weight, and they are off to fresh pavements and districts new. I have seen great tragedians. I have sat through the sleep-walking scene in "Macbeth." I have heard Banquo knock. I have seen Juliet waken too late in the Capulet tomb and call for Romeo: "O comfortable friar! Where is my lord?" In my schoolgirl days I saw Booth in his great parts; but none of these master-scenes and fine harmonies have stirred in me so intolerable an emotion of pity or sense of fatality as an old horn, or harp and violin, grouped on a garish pavement, their lives dedicated to cheap music fearfully off the key.
These are people of power, let appearances be what they may. You may patronize them if you like, and look upon them as the downtrodden and the dregs of existence. I am, indeed, not so hardy. I have read a different fate in their groups and constellations.
III
MAJOR LOBLEY
There were other poor whose influence was potent in my childhood, but I pass them by, to note but one more, of a curiously strong type, who crossed my path when I might have been about sixteen. She was a Salvation Army major,—Major Lobley,—and she had at her heels an army of poor wretches, "flood-sufferers." That great river on which my home town was situated had risen and overtrod its banks, spreading devastation. As it happened, my mother had standing idle at that time three or four small houses. Into these a large and variegated band of "flood-sufferers" was assisted to move. They came, poor things, bringing their lares and penates. One, whom I take to have been an aristocrat among them, led a mule. Among them all, like a burst of sunshine over a dark and variegated landscape, came Major Lobley and the drum. It would make a better recital, I know, if I said that she was beating it—but I am resolved to tell of things only as I remember them. The drum, however, even though silent, was to the eye sufficiently triumphant and sounding.