by Candace Ward
The door grated, as Haley opened it.
“Come, my woman! Must lock up for t’ night. Come, stir yerself!”
She went up and took Hugh’s hand.
“Good-night, Deb,” he said, carelessly.
She had not hoped he would say more; but the tired pain on her mouth just then was bitterer than death. She took his passive hand and kissed it.
“Hur’ll never see Deb again!” she ventured, her lips growing colder and more bloodless.
What did she say that for? Did he not know it? Yet he would not be impatient with poor old Deb. She had trouble of her own, as well as he.
“No, never again,” he said, trying to be cheerful.
She stood just a moment, looking at him. Do you laugh at her, standing there, with her hunchback, her rags, her bleared, withered face, and the great despised love tugging at her heart?
“Come you!” called Haley, impatiently.
She did not move.
“Hugh!” she whispered.
It was to be her last word. What was it?
“Hugh, boy, not THAT!”
He did not answer. She wrung her hands, trying to be silent, looking in his face in an agony of entreaty. He smiled again, kindly.
“It is best, Deb. I cannot bear to be hurted any more.”
“Hur knows,” she said, humbly.
“Tell my father good-by; and — and kiss little Janey.”
She nodded, saying nothing, looked in his face again, and went out of the door. As she went, she staggered.
“Drinkin’ to-day?” broke out Haley, pushing her before him. “Where the Devil did you get it? Here, in with ye!” and he shoved her into her cell, next to Wolfe’s, and shut the door.
Along the wall of her cell there was a crack low down by the floor, through which she could see the light from Wolfe’s. She had discovered it days before. She hurried in now, and, kneeling down by it, listened, hoping to hear some sound. Nothing but the rasping of the tin on the bars. He was at his old amusement again. Something in the noise jarred on her ear, for she shivered as she heard it. Hugh rasped away at the bars. A dull old bit of tin, not fit to cut korl with.
He looked out of the window again. People were leaving the market now. A tall mulatto girl, following her mistress, her basket on her head, crossed the street just below, and looked up. She was laughing; but, when she caught sight of the haggard face peering out through the bars, suddenly grew grave, and hurried by. A free, firm step, a clear-cut olive face, with a scarlet turban tied on one side, dark, shining eyes, and on the head the basket poised, filled with fruit and flowers, under which the scarlet turban and bright eyes looked out half-shadowed. The picture caught his eye. It was good to see a face like that. He would try to-morrow, and cut one like it. To-morrow! He threw down the tin, trembling, and covered his face with his hands. When he looked up again, the daylight was gone.
Deborah, crouching near by on the other side of the wall, heard no noise. He sat on the side of the low pallet, thinking. Whatever was the mystery which the woman had seen on his face, it came out now slowly, in the dark there, and became fixed, — a something never seen on his face before. The evening was darkening fast. The market had been over for an hour; the rumbling of the carts over the pavement grew more infrequent: he listened to each, as it passed, because he thought it was to be for the last time. For the same reason, it was, I suppose, that he strained his eyes to catch a glimpse of each passer-by, wondering who they were, what kind of homes they were going to, if they had children, — listening eagerly to every chance word in the street, as if — (God be merciful to the man! what strange fancy was this?) — as if he never should hear human voices again.
It was quite dark at last. The street was a lonely one. The last passenger, he thought, was gone. No, — there was a quick step: Joe Hill, lighting the lamps. Joe was a good old chap; never passed a fellow without some joke or other. He remembered once seeing the place where he lived with his wife. “Granny Hill” the boys called her. Bedridden she was; but so kind as Joe was to her! kept the room so clean! — and the old woman, when he was there, was laughing at “some of t’ lad’s foolishness.” The step was far down the street; but he could see him place the ladder, run up, and light the gas. A longing seized him to be spoken to once more.
“Joe!” he called out of the grating. “Good-by, Joe!”
The old man stopped a moment, listening uncertainly; then hurried on. The prisoner thrust his hand out of the window, and called again, louder; but Joe was too far down the street. It was a little thing; but it hurt him, — this disappointment.
“Good-by, Joe!” he called, sorrowfully enough.
“Be quiet!” said one of the jailers, passing the door, striking on it with his club.
Oh, that was the last, was it?
There was an inexpressible bitterness on his face, as he lay down on the bed, taking the bit of tin, which he had rasped to a tolerable degree of sharpness, in his hand, — to play with, it may be. He bared his arms, looking intently at their corded veins and sinews. Deborah, listening in the next cell, heard a slight clicking sound, often repeated. She shut her lips tightly, that she might not scream; the cold drops of sweat broke over her, in her dumb agony.
“Hur knows best,” she muttered at last, fiercely clutching the boards where she lay.
If she could have seen Wolfe, there was nothing about him to frighten her. He lay quite still, his arms outstretched, looking at the pearly stream of moonlight coming into the window. I think in that one hour that came then he lived back over all the years that had gone before. I think that all the low, vile life, all his wrongs, all his starved hopes, came then, and stung him with a farewell poison that made him sick unto death. He made neither moan nor cry, only turned his worn face now and then to the pure light, that seemed so far off, as one that said, “How long, O Lord? how long?”
The hour was over at last. The moon, passing over her nightly path, slowly came nearer, and threw the light across his bed on his feet. He watched it steadily, as it crept up, inch by inch, slowly. It seemed to him to carry with it a great silence. He had been so hot and tired there always in the mills! The years had been so fierce and cruel! There was coming now quiet and coolness and sleep. His tense limbs relaxed, and settled in a calm languor. The blood ran fainter and slow from his heart. He did not think now with a savage anger of what might be and was not; he was conscious only of deep stillness creeping over him. At first he saw a sea of faces: the mill-men, — women he had known, drunken and bloated, — Janey’s timid and pitiful, — poor old Deb’s: then they floated together like a mist, and faded away, leaving only the clear, pearly moonlight.
Whether, as the pure light crept up the stretched-out figure, it brought with it calm and peace, who shall say? His dumb soul was alone with God in judgment. A Voice may have spoken for it from far-off Calvary, “Father, forgive them, for they know not what they do!” Who dare say? Fainter and fainter the heart rose and fell, slower and slower the moon floated from behind a cloud, until, when at last its full tide of white splendor swept over the cell, it seemed to wrap and fold into a deeper stillness the dead figure that never should move again. Silence deeper than the Night! Nothing that moved, save the black, nauseous stream of blood dripping slowly from the pallet to the floor!
There was outcry and crowd enough in the cell the next day. The coroner and his jury, the local editors, Kirby himself, and boys with their hands thrust knowingly into their pockets and heads on one side, jammed into the corners. Coming and going all day. Only one woman. She came late, and outstayed them all. A Quaker, or Friend, as they call themselves. I think this woman was known by that name in heaven. A homely body, coarsely dressed in gray and white. Deborah (for Haley had let her in) took notice of her. She watched them all — sitting on the end of the pallet, holding his head in her arms — with the ferocity of a watch-dog, if any of them touched the body. There was no meekness, no sorrow, in her face; the stuff out of which murderers are made,
instead. All the time Haley and the woman were laying straight the limbs and cleaning the cell, Deborah sat still, keenly watching the Quaker’s face. Of all the crowd there that day, this woman alone had not spoken to her, — only once or twice had put some cordial to her lips. After they all were gone, the woman, in the same still, gentle way, brought a vase of wood-leaves and berries, and placed it by the pallet, then opened the narrow window. The fresh air blew in, and swept the woody fragrance over the dead face. Deborah looked up with a quick wonder.
“Did hur know my boy wud like it? Did hur know Hugh?”
“I know Hugh now.”
The white fingers passed in a slow, pitiful way over the dead, worn face. There was a heavy shadow in the quiet eyes.
“Did hur know where they’ll bury Hugh?” said Deborah in a shrill tone, catching her arm.
This had been the question hanging on her lips all day.
“In t’ town-yard? Under t’ mud and ash? T‘ lad ’ll smother, woman! He wur born on t’ lane moor, where t‘ air is frick and strong. Take hur out, for God’s sake, take hur out where t’ air blows!”
The Quaker hesitated, but only for a moment. She put her strong arm around Deborah and led her to the window.
“Thee sees the hills, friend, over the river? Thee sees how the light lies warm there, and the winds of God blow all the day? I live there, — where the blue smoke is, by the trees. Look at me.” She turned Deborah’s face to her own, clear and earnest. “Thee will believe me? I will take Hugh and bury him there to-morrow.”
Deborah did not doubt her. As the evening wore on, she leaned against the iron bars, looking at the hills that rose far off, through the thick sodden clouds, like a bright, unattainable calm. As she looked, a shadow of their solemn repose fell on her face: its fierce discontent faded into a pitiful, humble quiet. Slow, solemn tears gathered in her eyes: the poor weak eyes turned so hopelessly to the place where Hugh was to rest, the grave heights looking higher and brighter and more solemn than ever before. The Quaker watched her keenly. She came to her at last, and touched her arm.
“When thee comes back,” she said, in a low, sorrowful tone, like one who speaks from a strong heart deeply moved with remorse or pity, “thee shall begin thy life again, — there on the hills. I came too late; but not for thee, — by God’s help, it may be.”
Not too late. Three years after, the Quaker began her work. I end my story here. At evening-time it was light. There is no need to tire you with the long years of sunshine, and fresh air, and slow, patient Christ-love, needed to make healthy and hopeful this impure body and soul. There is a homely pine house, on one of these hills, whose windows overlook broad, wooded slopes and clover-crimsoned meadows, — niched into the very place where the light is warmest, the air freest. It is the Friends’ meeting-house. Once a week they sit there, in their grave, earnest way, waiting for the Spirit of Love to speak, opening their simple hearts to receive His words. There is a woman, old, deformed, who takes a humble place among them: waiting like them: in her gray dress, her worn face, pure and meek, turned now and then to the sky. A woman much loved by these silent, restful people; more silent than they, more humble, more loving. Waiting: with her eyes turned to hills higher and purer than these on which she lives, — dim and far off now, but to be reached some day. There may be in her heart some latent hope to meet there the love denied her here, — that she shall find him whom she lost, and that then she will not be all-unworthy. Who blames her? Something is lost in the passage of every soul from one eternity to the other, — something pure and beautiful, which might have been and was not: a hope, a talent, a love, over which the soul mourns, like Esau deprived of his birthright. What blame to the meek Quaker, if she took her lost hope to make the hills of heaven more fair?
Nothing remains to tell that the poor Welsh puddler once lived, but this figure of the mill-woman cut in korl. I have it here in a corner of my library. I keep it hid behind a curtain, — it is such a rough, ungainly thing. Yet there are about it touches, grand sweeps of outline, that show a master’s hand. Sometimes, — to-night, for instance, — the curtain is accidentally drawn back, and I see a bare arm stretched out imploringly in the darkness, and an eager, wolfish face watching mine: a wan, woful face, through which the spirit of the dead korl-cutter looks out, with its thwarted life, its mighty hunger, its unfinished work. Its pale, vague lips seem to tremble with a terrible question. “Is this the End?” — they say, — “nothing beyond? — no more?” Why, you tell me you have seen that look in the eyes of dumb brutes, — horses dying under the lash. I know.
The deep of the night is passing while I write. The gas-light wakens from the shadows here and there the objects which lie scattered through the room: only faintly, though; for they belong to the open sunlight. As I glance at them, they each recall some task or pleasure of the coming day. A half-moulded child’s head; Aphrodite; a bough of forest-leaves; music; work; homely fragments, in which lie the secrets of all eternal truth and beauty. Prophetic all! Only this dumb, woful face seems to belong to and end with the night. I turn to look at it. Has the power of its desperate need commanded the darkness away? While the room is yet steeped in heavy shadow, a cool, gray light suddenly touches its head like a blessing hand, and its groping arm points through the broken cloud to the far East, where, in the flickering, nebulous crimson, God has set the promise of the Dawn.
Louisa May Alcott
(1832-1888)
FOR MANY YEARS, Louisa May Alcott was regarded primarily as a children’s author. The longstanding popularity of such novels as Little Women (1869), Little Men (1871) and Jo’s Boys (1886) attests to her talents in that genre, but these works have overshadowed Alcott’s other writing. Recent scholarship by such critics as Madeleine B. Stern and Elaine Showalter has prompted a reassessment of Alcott’s “alternative” fiction, including the sensational thrillers she published anonymously.
Alcott wrote her first book, a collection of children’s stories entitled Flower Fables (published in 1855), when she was only 16. A prolific and determined author, Alcott was often forced to put aside her writing to fulfill household responsibilities. While her father, Bronson Alcott, was a respected and popular member of the Transcendental group that included Ralph Waldo Emerson and Henry David Thoreau, he was not well suited to the role of family provider. Alcott, her mother and four sisters all worked to stave off financial ruin. Rather than abandon her writerly aspirations, however, Alcott transformed her experiences into the autobiographical fictions that earned her literary success. The widely read Hospital Sketches (1863), based on letters Alcott wrote during her service as a military nurse in Washington during the Civil War, was one such work.
“Transcendental Wild Oats” is also autobiographical, based on her family’s experience at Bronson Alcott’s commune Fruitlands, one of many utopian communities that sprang up in New England at the height of the Transcendental Movement. Alcott’s portrayal of the failed experiment has its tragic and comic sides. The depiction of Mrs. Lamb — a thinly veiled portrait of Alcott’s mother — reveals Alcott’s ambivalence toward the assumption that a woman should follow “wheresoever her husband led.” Underlying the sketch’s humor, one detects a bitterness over her father’s determination to follow his philosophical callings at the expense of his family’s well-being.
Transcendental Wild Oats
ON THE FIRST day of June, 184—, a large wagon, drawn by a small horse and containing a motley load, went lumbering over certain New England hills, with the pleasing accompaniments of wind, rain, and hail. A serene man with a serene child upon his knee was driving, or rather being driven, for the small horse had it all his own way. A brown boy with a William Penn style of countenance sat beside him, firmly embracing a bust of Socrates. Behind them was an energetic-looking woman, with a benevolent brow, satirical mouth, and eyes brimful of hope and courage. A baby reposed upon her lap, a mirror leaned against her knee, and a basket of provisions danced about at her feet, as she struggled with
a large, unruly umbrella. Two blue-eyed little girls, with hands full of childish treasures, sat under one old shawl, chatting happily together.
In front of this lively party stalked a tall, sharp-featured man, in a long blue cloak; and a fourth small girl trudged along beside him through the mud as if she rather enjoyed it.
The wind whistled over the bleak hills; the rain fell in a despondent drizzle, and twilight began to fall. But the calm man gazed as tranquilly into the fog as if he beheld a radiant bow of promise spanning the gray sky. The cheery woman tried to cover every one but herself with the big umbrella. The brown boy pillowed his head on the bald pate of Socrates and slumbered peacefully. The little girls sang lullabies to their dolls in soft, maternal murmurs. The sharp-nosed pedestrian marched steadily on, with the blue cloak streaming out behind him like a banner; and the lively infant splashed through the puddles with a duck-like satisfaction pleasant to behold.
Thus these modern pilgrims journeyed hopefully out of the old world, to found a new one in the wilderness.
The editors of The Transcendental Tripod had received from Messrs. Lion and Lamb (two of the aforesaid pilgrims) a communication from which the following statement is an extract: —
“We have made arrangements with the proprietor of an estate of about one hundred acres which liberates this tract from human ownership. Here we shall prosecute our effort to initiate a Family in harmony with the primitive instincts of man.
