A gay little dance, in which Dora, Nan, Bess, and several of the boys took part, made a good background for the humble figure of the old woman in her widow's bonnet, rusty shawl, big umbrella, and basket. Her naive astonishment, as she surveys the spectacle, feels the curtains, and smooths her old gloves during the moment she remains unseen, was very good; but Josie's unaffected start when she sees her, and the cry: 'Why, there's mother!' was such a hearty little bit of nature, it hardly needed the impatient tripping over her train as she ran into the arms that seemed now to be her nearest refuge.
The lover plays his part; and ripples of merriment greeted the old woman's searching questions and blunt answers during the interview which shows the girl how shallow his love is, and how near she had been to ruining her life as bitterly as poor 'Elizy' did. She gives her answer frankly, and when they are alone, looks from her own bedizened self to the shabby dress, work-worn hands, and tender face, crying with a repentant sob and kiss: 'Take me home, mother, and keep me safe. I've had enough of this!'
'That will do you good, Maria; don't forget it,' said one lady to her daughter as the curtain went down; and the girl answered: 'Well, I'm sure I don't see why it's touching; but it is,' as she spread her lace handkerchief to dry.
Tom and Nan came out strong in the next scene; for it was a ward in an army hospital, and surgeon and nurse went from bed to bed, feeling pulses, administering doses, and hearing complaints with an energy and gravity which convulsed the audience. The tragic element, never far from the comic at such times and places, came in when, while they bandaged an arm, the doctor told the nurse about an old woman who was searching through the hospital for her son, after days and nights on battlefields, through ambulances, and among scenes which would have killed most women.
'She will be here directly, and I dread her coming, for I'm afraid the poor lad who has just gone is her boy. I'd rather face a cannon than these brave women, with their hope and courage and great sorrow,' says the surgeon.
'Ah, these poor mothers break my heart!' adds the nurse, wiping her eyes on her big apron; and with the words Mrs Meg came in.
There was the same dress, the basket and umbrella, the rustic speech, the simple manners; but all were made pathetic by the terrible experience which had changed the tranquil old woman to that haggard figure with wild eyes, dusty feet, trembling hands, and an expression of mingled anguish, resolution, and despair which gave the homely figure a tragic dignity and power that touched all hearts. A few broken words told the story of her vain search, and then the sad quest began again. People held their breath as, led by the nurse, she went from bed to bed, showing in her face the alternations of hope, dread, and bitter disappointment as each was passed. On a narrow cot was a long figure covered with a sheet, and here she paused to lay one hand on her heart and one on her eyes, as if to gather courage to look at the nameless dead. Then she drew down the sheet, gave a long shivering sigh of relief, saying softly:
'Not my son, thank God! but some mother's boy.' And stooping down, she kissed the cold forehead tenderly.
Somebody sobbed there, and Miss Cameron shook two tears out of her eyes, anxious to lose no look or gesture as the poor soul, nearly spent with the long strain, struggled on down the long line. But her search was happily ended for, as if her voice had roused him from his feverish sleep, a gaunt, wild-eyed man sat up in his bed, and stretching his arms to her, cried in a voice that echoed through the room:
'Mother, mother! I knew you'd come to me!'