High Sorcery

by Andre Norton

“She went away to school, too, Anne Ruthevan did. And that's where she met her sweetheart. He was the older brother of one of her schoolmates.”

  “But Miss Ruthevan's an old maid!” Ruth protested. “She didn't ever marry.”

  “No.” Cousin Althea sat down in the old, wooden porch rocker and picked up a palm leaf fan to cool her face, “No, she didn't ever marry. All her good fortune turned bad almost overnight, you might say.

  “She and her father went out driving. It was late August and she was planning to be married in September. There was a bad storm came up very sudden. It frightened those grays and they ran away down on the river road. They didn't make the turn there and the carriage was smashed up. The Colonel was killed. Miss Anne—well, for days everybody thought she'd die, too.

  “Her sweetheart came up from New York. My mother said he was the handsomest man: tall, with black hair waving down a little over his forehead. He stayed with the Chambers family. Mr. Chambers was Miss Anne's uncle on her mother's side. He tried every day to see Miss Anne, only she would never have him in—she must have known by then-”

  “That she was always going to be lame,” I said flatly.

  Cousin Althea did not look at me when she nodded agreement

  “He went away, finally. But he kept coming back. After a while people guessed what was really going on. It wasn't Miss Anne he was coming to see now; it was her cousin, Rita Chambers.

  “By then Miss Anne had found out some other pretty unhappy things. The Colonel had died sudden, and he left his business in a big tangle. By the time someone who knew how got to looking after it most of the money was gone. Here was Miss Anne, brought up to have most of what she had a mind for; and now she had nothing. Losing her sweetheart to Rita and then her money; it changed her. She shut herself away from most folks. She was awful young—only twenty.

  “Pretty soon Rita was planning her wedding—they were going to be married in August, just about a year after that ride which changed Miss Anne's life. Her fiance came up from New York a couple of days ahead of time; he was staying at Doc Bernard's. Well, the wedding day came, and Doc was to drive the groom to the church. He waited a good long time and finally went up to his room to hurry him along a little, but he wasn't there. His clothes were all laid out, nice and neat. I remember hearing Mrs. Bernard, she was awfully old then, telling as how it gave her a turn to see the white rose he was to wear in his buttonhole still sitting in a glass of water on the chest of drawers. But he was gone—didn't take his clothes nor nothing—just went. Nobody saw hide nor hair of him afterwards.”

  “But what could have happened to him, Cousin Althea?” I asked.

  “They did some hunting around, but never found anyone who saw him after breakfast that morning. Most people finally decided he was ashamed of it all, that he felt it about Miss Anne. ‘Course, that didn't explain why he left his clothes all lying there. Mother always said she thought both Anne and Rita were well rid of him. It was a ten day's wonder all right, but people forgot in time. The Chamberses took Rita away to a watering place for a while; she was pretty peeked. Two years later she married John Ford; he'd always been sweet on her. Then they moved nut west someplace. I heard as how she'd taken a dislike to this whole town and told John she'd say ‘yes’ to him provided he moved. “Since then—well. Miss Anne, she began to do a little better. She was able to get out of bed that winter and took to sewing—not making clothes and such, but embroidery. Real important people have bought some of her fancy pictures; I heard tell a couple are even in museums. And you're a very lucky girl, Ernestine, if she'll teach you like you said.” It was not until I was in bed that night, going over my meeting with Miss Ruthevan and Cousin Althea's story, that something gave me a queer start: the thought of that unclaimed white rose.

  Most of the time I had spent with Miss Ruthevan she had been at work. But I had never seen the picture she was stitching, only her hands holding the needle dipping in and out, or bringing a thread into the best light as she matched it against the petals of the rose on her table.

  That had been a perfect rose; it might have been carved from ivory. Miss Ruthevan had not taken it out of the glass; she had not moved out of her chair when I left. But now I was sure that, when I had looked back from the door, the rose had been gone. Where? It was a puzzle. But, of course, Miss Ruthevan must have done something with it when I went to look at some one of the pictures she had called to my attention.

  Cousin Althea was flattered that Miss Ruthevan had shown interest in me; I know my retelling of the comment about Grandma Moss had pleased her greatly. She carefully supervised my dress before my departure for the Ruthevan house the next day, and she would not let me take the shortcut through the garden. I must limp around the block and approach properly through the front door. I did, uncomfortable in the fresh folds of skirt, so ill looking I believed, above the ugliness of the brace.

  Today Miss Ruthevan had put aside the covered frame and was busied instead with a delicate length of old lace, matching thread with extra care. It was a repair job for a museum, she told me.

  She put me to work helping her with the thread. Texture, color, shading—I must have an eye for all, she told me crisply. She spun some of her thread herself and dyed much of it, using formulas which the Ruthevan women had developed over the years.

  So through the days and weeks which followed I found cool refuge in that high-walled room where I was allowed to handle precious fabrics and take some part in her work. I learned to spin on a wheel older than much of the town, and I worked in the small shed-like summer kitchen skimming dye pots and watching Miss Ruthevan measure bark and dried leaves and roots in careful quantities,

  It was only rarely that she worked on the piece in the standing frame, which she never allowed me to see. She did not forbid that in words, merely arranged it so that I did not But from time to time, when she had a perfectly formed fern, a flower, and once in the early morning when a dew-beaded spider web cornered the window without, she would stitch away. I never saw what she did with her models when she had finished. I only knew that when the last stitch was set to her liking, the vase was empty, the web had vanished.

  She had a special needle for this work. It was kept in a small brass box, and she made a kind of ceremony of opening the box, holding it tightly to her breast, with her eyes closed; she also took a great while to thread the needle itself, running the thread back and forth through it. But when Miss Ruthevan did not choose to explain, there was that about her which kept one from asking questions.

  I learned, slowly and painfully, with pricked fingers and sick frustration each time I saw how far below my goals my finished work was. But there was a great teacher in Miss Ruthevan. She had patience and her criticism inspired instead of blighted. Once I brought her a shell I had found. She turned it over, putting it on her model table. When I came the next day if still lay there, but on a square of fabric, the outline of the shell sketched upon the cloth.

  “Select your threads,” she told me.

  It took me a long time to match and rematch. She examined my choice and made no changes,

  “You have the eye. If you can also learn the skill...”

  I tried to reproduce the shell; but the painful difference between my work and the model exasperated me, until the thread knotted and snarled and I was close to tears. She took it out of my hand.

  “You try too hard. You think of the stitches instead of the whole. It must be done here as well as with your fingers.” She touched one of her cool, dry fingers to my forehead.

  So I learned patience as well as skill, and as she worked Miss Ruthevan spoke of art and artists, of the days when she had gone out of Cramwell into a world long lost. I went back to Cousin Althea's each afternoon with my head full of far places and the beauty men and women could create. Sometimes she had me leaf through books of prints, or spend afternoons sorting out patterns inscribed on strips of parchment older than my own country.

  The change in Miss Ruthevan herself came so
slowly during those weeks that I did not note it at first. When she began to refuse commissions, I was not troubled, but rather pleased, for she spent more time with me, only busy with that on the standing frame. I did regret her refusing to embroider a wedding dress; it was so beautiful. It was that denial which made me aware that now she seldom came out of her chair; there were no more mornings with the dye pots.

  One day when I came there were no sounds from the kitchen, a curious silence in the house. My uneasiness grew as I entered the workroom to see Miss Ruthevan sitting with folded hands, no needle at work. She turned her head to watch as I limped across the carpet. I spoke the first thing in my mind.

  “Miss Applebee's gone.” I had never seen much of the deaf housekeeper, but the muted sounds of her presence had always been with us. I missed them now.

  “Yes, Lucy is gone. Our time has almost run out. Sit down, Ernestine. No, do not reach for your work, I have something to say to you.”

  That sounded a little like a scolding to come. I searched my conscience as she continued.

  “Some day very soon now, Ernestine, I too, shall go.”

  I stared at her, frightened. For the first time I was aware of just how old Miss Ruthevan must be, how skeleton thin were her quiet hands.

  She laughed. “Don't grow so big-eyed, child. I have no intention of being coffined, none at all. It is just that I have earned a vacation of sorts, one of my own choosing. Remember this, Ernestine, nothing in this world comes to us unpaid for; and when I speak of pay, I do not talk of money. Things which may be bought with money are the easy things. No, the great desires of our hearts are paid for in other coin; I have paid for what I want most, with fifty years of labor. Now the end is in sight—see for yourself!”

  She pushed at the frame so for the first time I could see what it held.

  It was a picture, a vivid one. Somehow I felt that I looked through a window to see reality. In the background to the left, tall trees arched, wearing the brilliant livery of fall. In the foreground was a riot of flowers.

  Against a flaming oak stood a man, a shaft of light illuminating his high-held, dark head. His thin face was keenly alive and welcoming. His hair waved down a little over his forehead.

  Surrounded by the flowers was the figure of a woman. By the grace and slendemess of her body she was young. But her face was still but blank canvas.

  I went closer, fascinated by form and color, seeing more details the longer I studied it. There was a rabbit crouched beneath a clump of fern, and at the feet of the girl a cat, eyeing the hunter with the enigmatic scrutiny of its kind. Its striped, gray and black coat was so real I longed to touch-to see if it were truly fur.

  “That was Timothy,” Miss Ruthevan said suddenly. “I did quite well with him. He was so old, so old and tired. Now he will be forever young.”

  “But, you haven't done the lady's face.” I ventured.

  “Not yet, child, but soon now.” She suddenly tossed the cover over the frame to hide it all.

  There is this.” She picked up the brass needle-case and opened it fully for the first time, to display a strip of threadbare velvet into which was thrust two needles. They were not the ordinary steel ones, such as I had learned to use, but bright yellow slivers of fire in the sun.

  “Once,” she told me, “there were six of these—now only two. This one is mine. And this,” her finger did not quite touch the last, “shall be yours, if you wish, only if you wish, Ernestine. Always remember one pays a price for power. If tomorrow, or the day after, you come and find me gone, you shall also find this box waiting for you. Take it and use the needle if and when you will—but carefully. Grizel Ruthevan bought this box for a very high price indeed. I do not know whether we should bless or curse her. . . .” Her voice trailed away and I knew without any formal dismissal I was to go. But at the door I hesitated, to look back.

  Miss Ruthevan had pulled the frame back into working distance before her. As I watched she made a careful selection of thread, set it in the needle's waiting eye. She took one stitch and then another. I went into the dark silence of the hall. Miss Ruthevan was finishing the picture.

  I said nothing to Cousin Althea of that curious interview. The next day I went almost secretly into the Ruthevan house by the way I had first entered it, over the garden wall. The silence was even deeper than it had been the afternoon before. There was a curious deadness to it, like the silence of a house left unoccupied. I crept to the workroom; there was no one in the chair by the window. I had not really expected to find her there.

  When I reached the chair, something seemed to sap my strength so I sat in it as all those days I had seen her sit. The picture stood in its frame facing me—uncovered. As I had expected, it was complete. The imperiously beautiful face of the lady was there in detail. I recognized those wing brows, though now they were dark, the eyes, the mouth with its shadow smile; recognized them with a shiver. Now I knew where the rose, the fern, the web and all the other models had gone. I also knew, without being told, the meaning of the gold needles and why the maiden in the picture wore Anne Ruthevan's face and the hunter had black hair.

  I ran, and I was climbing over the back wall before I was truly aware of what I did. But weighing down the pocket of my sewing apron was the brass needle-box. I have never opened it. I am not Miss Ruthevan; I have not the determination, nor perhaps the courage, to pay the price such skill demands. With whom—or what—Grizel Ruthevan dealt to acquire those needles, I do not like to think at all

  BY A HAIR

  YOU SAY, FRIEND, that witchcraft at its strongest is but a crude knowledge of psychology, a use of a man's own fear of the unknown to destroy him? Perhaps it may be so in modern lands. But me, I have seen what I have seen. More than fear destroyed Dagmar Kark and Colonel Andrei Veroff. There were four of them, strong and passionate: Ivor and Dagmar Kark, Andrei Varoff and the Countess Ana. What they desired they gained by the aid of something not to be seen nor felt nor sensed tangibly, something not in the experience of modem men,

  Ivor was an idealist who held to a cause and the woman he thought Dagmar to be. Dagmar, she wanted power-power over the kind of man who could give her all her heart desired. And so she wanted Colonel Andrei Varoff.

  And Varoff, his wish was a common one, though odd for one of his creed. When a man has been nourished on the belief that the state is all, the individual nothing, it is queer to want a son to the point of obsession. And, though Varoff had taken many women, none had produced a child he could be sure was his.

  The Countess Ana, she wanted justice—and love.

  The four people had faith in themselves, strong faith. Besides, they had it in other things—Ivor in his cause and his wife, Varoff in a creed. And Dagmar and Ana in something very old and enduring.

  It could not have happened in this new land of yours, to that I agree; but in my birth country it is different. All this came to be in a narrow knife slash of a valley running from mountains to the gray salt sweep of the Baltic. It is true that the shadow of the true cross has lain over that valley since the Teutonic knights planted it on the castle they built in the crags almost a thousand years ago. But before the white Christ came, other, grimmer gods were worshiped in that land. In the fir forest where the valley walls are steep, there is still a stone altar set in a grove. That was tended, openly at first, and later in secret, for long after the priests of Rome chanted masses in the church.

  In that country the valley is reckoned rich. Life there was good until the Nazis came. Then the Count was shot in his own courtyard, since he was not the type of man to suffer the arrogance of others calmly, and with him Hudun, the head gamekeeper, and the heads of three valley households. Afterwards they took away the young Countess Ana.

  But Ivor Kark fled to the hills and our young men joined him. During two years, perhaps a little more, they carried on guerrilla warfare with the invader, just as it happened in those days in all the countries stamped by the iron heel.

  But to my country ther
e came no liberation. Where the Nazi had strutted in his pride, the Bear of the north shambled, and stamped into red dust those who defied him. Some fled and some stayed to fight, believing in their innocence that the nations among the free would rise in their behalf.

  Ivor Kark and his men, not yet realizing fully the doom come upon us, ventured out of the mountains. For a time it appeared that the valley, being so small a community, might indeed be overlooked. In those few days of freedom Ivor found Dagmar Llov.

  Who can describe such a woman as Dagmar with words? She was not beautiful; no, seldom is it that great beauty brings men to their knees. Look at the portraits of your historical charmers, or read what has been written of Cleopatra, of Theodora and the rest. They have something other than beauty, these fateful ones: a flame within them which kindles an answer in all men who look upon them. But their own hearts remain cold.

  Dagmar walked with a grace which tore at you, and when she looked at one sidewise. . . . But who can describe such a woman? I can say she had silver, fair hair which reached to her knees, a face with a frost white skin, but I cannot so make you see the Dagmar Llov that was.

  Because of his leadership in the underground, Ivor was a hero to us. In addition, he was good to look upon: a tall whip of a man, brown, thin, narrow of waist and loins, and broad of shoulder. He had been a huntsman of the Count's, and walked with a forester's smooth glide. Above his widely set eyes his hair grew in a sharp peak, giving his face a disturbingly wolfish cast. But in his eyes and mouth there was the dedication of a priest.

  Being what she was, Dagmar looked upon those eyes and that mouth, and desired to trouble the mold, to see there a difference she had wrought. In some ways Ivor was an innocent, but Dagmar was one who had known much from her cradle.

  Also, Ivor was now the great man among us. With the Count gone, the men of the valley looked to him for leadership. Dagmar went to him willingly and we sang her bride song. It was a good time, such as we had not known for years.