“‘Go it, my Rube!’
“Every blamed man, woman, and child in the house riz on me, and shouted ‘Put him out! Put him out!’
“With that some several p’licemen run up, and I had to simmer down. But I would a fit any fool that laid hands on me, for I was bound to hear Ruby out or die.
“He had changed his tune agin. He hopt-light ladies and tip-toed fine from eend to eend of the key-board. He played soft, and low, and solemn. I heard the church bells over the hills. The candles in heaven was lit, one by one. I saw the stars rise. The great organ of eternity began to play from the world’s end to the world’s end, and all the angels went to prayers. Then the music changed to water, full of feeling that couldn’t be thought, and began to drop—drip, drop, drip, drop—clear and sweet, like tears of joy fallin’ into a lake of glory.
“He stopt a minute or two, to fetch breath. Then he got mad. He run his fingers through his hair, he shoved up his sleeves, he opened his coat-tails a leetle further, he drug up his stool, he leaned over, and, sir, he just went for that old pianner. He slapt her face, he boxed her jaws, he pulled her nose, he pinched her ears, and he scratched her cheeks, till she farly yelled. He knockt her down and he stompt on her shameful. She bellowed like a bull, she bleated like a calf, she howled like a hound, she squealed like a pig, she shrieked like a rat, and then he wouldn’t let her up. He run a quarter-stretch down the low grounds of the bass, till he got clean into the bowels of the earth, and you heard thunder galloping after thunder, through the hollows and caves of perdition; and then he fox-chased his right hand with his left till he got away out of the trible into the clouds, whar the notes was finer than the pints of cambric needles, and you couldn’t hear nothin’ but the shadders of ’em. And then he wouldn’t let the old pianner go. He fetchet up his right wing, he fetcht up his left wing, he fetcht up his center, he fetcht up his reserves. He fired by file, he fired by platoons, by company, by regiments, and by brigades. He opened his cannon, siege-guns down thar, Napoleons here, twelve-pounders yonder, big guns, little guns, middle-sized guns, round shot, shell, shrapnel, grape, canister, mortars, mines, and magazines, every livin’ battery and bomb a goin’ at the same time. The house trembled, the lights danced, the walls shuk, the floor come up, the ceilin’ come down, the sky split, the ground rockt—Bang! With that bang! he lifted hisself bodily into the ar’, and he come down with his knees, his ten fingers, his ten toes, his elbows, and his nose, strikin’ every single solitary key on that pianner at the same time. The thing busted and went off into seventeen hundred and fifty-seven thousand five hundred and forty-two hemi-demi-semi-quivers, and I know’d no mo’.”
SARAH ANNE DORSEY.
1829=1879.
Mrs. Dorsey, daughter of Thomas G. P. Ellis, was born at Natchez, Mississippi, and was a niece of Mrs. Catherine Warfield who left to her many of her unpublished manuscripts. She was finely educated and travelled extensively. In 1853 she was married to Mr. Samuel W. Dorsey of Tensas Parish, Louisiana. Here she found scope for her energies in the duties of plantation life. She established a chapel and school for the slaves, and her account of the success of her plans gained her the title of “Filia Ecclesiae” from the “Churchman.” She afterwards used “Filia” as a pen-name.