Oliver Wendell Holmes.
MISS CRUMP’S SONG.
MISS CRUMP was inexorable. She declared that she was entirely out of practice. “She scarcely ever touched the piano;” “Mamma was always scolding her for giving so much of her time to French and Italian, and neglecting her music and painting; but she told mamma the other day that it really was so irksome to her to quit Racine and Dante, and go to thrumming upon the piano, that, but for the obligations of filial obedience, she did not think she should ever touch it again.”
Here Mrs. Crump was kind enough, by the merest accident in the world, to interpose, and to relieve the company from farther anxiety.
“Augusta, my dear,” said she, “go and play a tune or two; the company will excuse your hoarseness.”
Miss Crump rose immediately at her mother’s bidding, and moved to the piano, accompanied by a large group of smiling faces.
“Poor child,” said Mrs. Crump, as she went forward, “she is frightened to death. I wish Augusta could overcome her diffidence.”
Miss Crump was educated in Philadelphia; she had been taught to sing by Madame Piggisqueaki, who was a pupil of Ma’m’selle Crokifroggietta, who had sung with Madame Catalani; and she had taken lessons on the piano from Seignor Buzzifussi, who had played with Paganini.
She seated herself at the piano, rocked to the right, then to the left, leaned forward, then backward, and began. She placed her right hand about midway the keys, and her left about two octaves below it. She now put off to the right in a brisk canter up the treble notes, and the left after it. The left then led the way back, and the right pursued it in like manner. The right turned, and repeated its first movement; but the left outran it this time, hopped over it, and flung it entirely off the track. It came in again, however, behind the left on its return, and passed it in the same style. They now became highly incensed at each other, and met furiously on the middle ground. Here a most awful conflict ensued for about the space of ten seconds, when the right whipped off all of a sudden, as I thought, fairly vanquished. But I was in the error against which Jack Randolph cautions us; “it had only fallen back to a stronger position.” It mounted upon two black keys, and commenced the note of a rattlesnake. This had a wonderful effect upon the left, and placed the doctrine of “snake charming” beyond dispute. The left rushed furiously towards it repeatedly, but seemed invariably panic-struck when it came within six keys of it, and as invariably retired with a tremendous roaring down the bass keys.