The Village Watch-Tower

The threads of man at their humming wheel,
The threads of life and power and pain,
So sweet and mournful falls the strain.”

         Emerson’s Harp.
Old Mrs. Butterfield had had her third stroke of paralysis, and died of a Sunday night. She was all alone in her little cottage on the river bank, with no neighbor nearer than Croft’s, and nobody there but a blind man and a small boy. Everybody had told her it was foolish to live alone in a house on the river road, and everybody was pleased in a discreet and chastened fashion of course, that it had turned out exactly as they had predicted.

Aunt Mehitable Tarbox was walking up to Milliken’s Mills, with her little black reticule hanging over her arm, and noticing that there was no smoke coming out of the chimney, and that the hens were gathered about the kitchen door clamoring for their breakfast, she thought it best to stop and knock. No response followed the repeated blows from her hard knuckles. She then tapped smartly on Mrs. Butterfield’s bedroom window with her thimble finger. This proving of no avail, she was obliged to pry open the kitchen shutter, split open a mosquito netting with her shears, and crawl into the house over the sink. This was a considerable feat for a somewhat rheumatic elderly lady, but this one never grudged trouble when she wanted to find out anything.

When she discovered that her premonitions were correct, and that old Mrs. Butterfield was indeed dead, her grief at losing a pleasant acquaintance was largely mitigated by her sense of importance at being first on the spot, and chosen by Providence to take command of the situation. There were no relations in the village; there was no woman neighbor within a mile: it was therefore her obvious Christian duty not only to take charge of the remains, but to conduct such a funeral as the remains would have wished for herself.

The fortunate Vice-President suddenly called upon by destiny to guide the ship of state, the general who sees a possible Victoria Cross in a hazardous engagement, can have a faint conception of aunt Hitty’s feeling on this momentous occasion. Funerals were the very breath of her life. There was no ceremony, either of public or private import, that, to her mind, approached a funeral in real satisfying interest. Yet, with distinct talent in this direction, she had always been “cabined, cribbed, confined” within hopeless limitations. She had assisted in a secondary capacity at funerals in the families of other people, but she would have reveled in personally conducted ones. The members of her own family stubbornly refused to die, however, even the distant connections living on and on to a ridiculous old age; and if they ever did die, by reason of a falling roof, shipwreck, or conflagration, they generally died in Texas or Iowa, or some remote State where aunt Hitty could not follow the hearse in the first carriage. This blighted ambition was a heart sorrow of so deep and sacred a character that she did not even confess it to “Si,” as her appendage of a husband was called.

Now at last her chance for planning a funeral had come. Mrs. Butterfield had no kith or kin save her niece, Lyddy Ann, who lived in Andover, or Lawrence, or Haverhill Massachusetts,—aunt Hitty couldn’t remember which, and hoped nobody else could. The niece would be sent for when they found out where she lived; meanwhile the funeral could not be put off.

She glanced round the house preparatory to locking it up and starting to notify Anthony Croft. She would just run over and talk to him about ordering the coffin; then she could attend to all other necessary preliminaries herself. The remains had been well-to-do, and there was no occasion for sordid economy, so aunt Hitty determined in her own mind to have the latest fashion in everything, including a silver coffin plate. The Butterfield coffin plates were a thing to be proud of. They had been sacredly preserved for years and years, and the entire collection—numbering nineteen in all had been framed, and adorned the walls of the deceased lady’s best room. They were not of solid silver, it is true, but even so it was a matter of distinction to have belonged to a family that could afford to have nineteen coffin plates of any sort.

Aunt Hitty planned certain dramatic details as she walked town the road to Croft’s. It came to her in a burst of inspiration that she would have two ministers: one for the long prayer, and one for the short prayer and the remarks. She hoped that Elder Weeks would be adequate in the latter direction. She knew she couldn’t for the life of her think of anything interesting about Mrs. Butterfield, save that she possessed nineteen coffin plates, and brought her hens to Edgewood every summer for their health; but she had heard Elder Weeks make a moving discourse out of less than that. To be sure, he needed priming, but she was equal to that. There was Ivory Brown’s funeral: how would that have gone on if it hadn’t been for her? Wasn’t the elder ten minutes late, and what would his remarks have amounted to without her suggestions? You might almost say she was the author of the discourse, for she gave him all the appropriate ideas. As she had helped him out of the wagon she had said: “Are you prepared? I thought not; but there’s no time to lose. Remember there are aged parents; two brothers living, one railroading in Spokane Falls, the other clerking in Washington, D. C. Don’t mention the Universalists,—there’s ben two in the fam’ly; nor insanity,—there ‘s ben one o’ them. The girl in the corner by the clock is the one that the remains has been keeping comp’ny with. If you can make some genteel allusions to her, it’ll be much appreciated by his folks.”

As to the long prayer, she knew that the Rev. Mr. Ford could be relied on to pray until aunt Becky Burnham should twitch him by the coat tails. She had done it more than once. She had also, on one occasion, got up and straightened his ministerial neckerchief, which he had gradually “prayed” around his saintly neck until it was behind the right ear.

These plans proved so fascinating to aunt Hitty that she walked quite half a mile beyond Croft’s, and was obliged to retrace her steps. She conceived bands of black alpaca for the sleeves and hats of the pallbearers, and a festoon of the same over the front gate, if there should be any left over. She planned the singing by the choir. There had been no real choir-singing at any funeral in Edgewood since the Rev. Joshua Beckwith had died. She would ask them to open with—

Rebel mourner, cease your weepin’.
You too must die.

This was a favorite funeral hymn. The only difficulty would be in keeping aunt Becky Burnham from pitching it in a key where nobody but a soprano skylark, accustomed to warble at a great height, could possibly sing it. It was generally given at the grave, when Elder Weeks officiated; but it never satisfied aunt Hitty, because the good elder always looked so unpicturesque when he threw a red bandanna handkerchief over his head before beginning the twenty-seven verses. After the long prayer, she would have Almira Berry give for a solo—

This gro-o-oanin’ world ‘s too dark and
dre-e-ar for the saints’ e – ter – nal rest,

This hymn, if it did not wholly reconcile one to death, enabled one to look upon life with sufficient solemnity. It was a thousand pities, she thought, that the old hearse was so shabby and rickety, and that Gooly Eldridge, who drove it, would insist on wearing a faded peach-blow overcoat. It was exasperating to think of the public spirit at Egypt, and contrast it with the state of things at Pleasant River. In Egypt they had sold the old hearse house for a sausage shop, and now they were having hearse sociables every month to raise money for a new one.

All these details flew through aunt Hitty’s mind in fascinating procession. There shouldn’t be “a hitch” anywhere. There had been a hitch at her last funeral, but she had been only an assistant there. Matt Henderson had been struck by lightning at the foot of Squire Bean’s old nooning tree, and certain circumstances combined to make the funeral one of unusual interest, so much so that fat old Mrs. Potter from Deerwander created a sensation at the cemetery. She was so anxious to get where she could see everything to the best advantage that she crowded too near the bier, stepped on the sliding earth, and pitched into the grave. As she weighed over two hundred pounds, and was in a position of some disadvantage, it took five men to extricate her from the dilemma, and the operation made a long and somewhat awkward break in the religious services. Aunt Hitty always said of this catastrophe, “If I’d ‘a’ ben Mis’ Potter, I’d ‘a’ ben so mortified I believe I’d ‘a’ said, ‘I wa’n’t plannin’ to be buried, but now I’m in here I declare I’ll stop!’”

Old Mrs. Butterfield’s funeral was not only voted an entire success by the villagers, but the seal of professional approval was set upon it by an undertaker from Saco, who declared that Mrs. Tarbox could make a handsome living in the funeral line anywhere. Providence, who always assists those who assist themselves, decreed that the niece Lyddy Ann should not arrive until the aunt was safely buried; so, there being none to resist her right or grudge her the privilege aunt Hitty, for the first time in her life, rode in the next buggy to the hearse. Si, in his best suit, a broad weed and weepers, drove Cyse Higgins’s black colt, and aunt Hitty was dressed in deep mourning, with the Widow Buzzell’s crape veil over her face, and in her hand a palmleaf fan tied with a black ribbon. Her comment to Si, as she went to her virtuous couch that night, was: “It was an awful dry funeral, but that was the only flaw in it. It would ‘a’ ben perfect if there’ ben anybody to shed tears. I come pretty nigh it myself, though I ain’t no relation, when Elder Weeks said, ‘You’ll go round the house, my sisters, and Mis’ Butterfield won’t be there; you’ll go int’ the orchard, and Mis’ Butterfield won’t be there; you’ll go int’ the barn and Mis’ Butterfield won’t be there; you’ll go int’ the shed, and Mis’ Butterfield won’t be there; you’ll go int’ the hencoop, and Mis’ Butterfield won’t be there!’ That would ‘a’ drawed tears from a stone most, ‘specially sence Mis’ Butterfield set such store by her hens.”

And this is the way that Lyddy Butterfield came into her kingdom, a little lone brown house on the river’s brim. She had seen it only once before when she had driven out from Portland, years ago, with her aunt. Mrs. Butterfield lived in Portland, but spent her summers in Edgewood on account of her chickens. She always explained that the country was dreadful dull for her, but good for the hens; they always laid so much better in the winter time.

Lyddy liked the place all the better for its loneliness. She had never had enough of solitude, and this quiet home, with the song of the river for company, if one needed more company than chickens and a cat, satisfied all her desires, particularly as it was accompanied by a snug little income of two hundred dollars a year, a meagre sum that seemed to open up mysterious avenues of joy to her starved, impatient heart.

When she was a mere infant, her brother was holding her on his knee before the great old-fashioned fireplace heaped with burning logs. A sudden noise startled him, and the crowing, restless baby gave an unexpected lurch, and slipped, face downward, into the glowing embers. It was a full minute before the horror-stricken boy could extricate the little creature from the cruel flame that had already done its fatal work. The baby escaped with her life, but was disfigured forever. As she grew older, the gentle hand of time could not entirely efface the terrible scars. One cheek was wrinkled and crimson, while one eye and the mouth were drawn down pathetically. The accident might have changed the disposition of any child, but Lyddy chanced to be a sensitive, introspective bit of feminine humanity, in whose memory the burning flame was never quenched. Her mother, partly to conceal her own wounded vanity, and partly to shield the timid, morbid child, kept her out of sight as much as possible; so that at sixteen, when she was left an orphan, she had lived almost entirely in solitude.

She became, in course of time, a kind of general nursery governess in a large family of motherless children. The father was almost always away from home; his sister kept the house, and Lyddy stayed in the nursery, bathing the brood and putting them to bed, dressing them in the morning, and playing with them in the safe privacy of the back garden or the open attic. They loved her, disfigured as she was, for the child despises mere externals, and explores the heart of things to see whether it be good or evil,—but they could never induce her to see strangers, nor to join any gathering of people.

The children were grown and married now, and Lyddy was nearly forty when she came into possession of house and lands and fortune; forty, with twenty years of unexpended feeling pent within her. Forty, that is rather old to be interesting, but age is a relative matter. Haven’t you seen girls of four-and-twenty who have nibbled and been nibbled at ever since they were sixteen, but who have neither caught anything nor been caught? They are old, if you like, but Lyddy was forty and still young, with her susceptibilities cherished, not dulled, and with all the “language of passion fresh and rooted as the lovely leafage about a spring.”

IV

“He shall daily joy dispense
Hid in song’s sweet influence.”

         Emerson’s Merlin.
Lyddy had very few callers during her first month as a property owner in Edgewood. Her appearance would have been against her winning friends easily in any case, even if she had not acquired the habits of a recluse. It took a certain amount of time, too, for the community to get used to the fact that old Mrs. Butterfield was dead, and her niece Lyddy Ann living in the cottage on the river road. There were numbers of people who had not yet heard that old Mrs. Butterfield had bought the house from the Thatcher boys, and that was fifteen years ago; but this was not strange, for, notwithstanding aunt Hitty’s valuable services in disseminating general information, there was a man living on the Bonny Eagle road who was surprised to hear that Daniel Webster was dead, and complained that folks were not so long-lived as they used to be.

Aunt Hitty thought Lyddy a Goth and a Vandal because she took down the twenty silver coffin plates and laid them reverently away. “Mis’ Butterfield would turn in her grave,” she said, “if she knew it. She ain’t much of a housekeeper, I guess,” she went on, as she cut over Dr. Berry’s old trousers into briefer ones for Tommy Berry. “She gives considerable stuff to her hens that she’d a sight better heat over and eat herself, in these hard times when the missionary societies can’t hardly keep the heathen fed and clothed and warmed—no, I don’t mean warmed, for most o’ the heathens live in hot climates, somehow or ‘nother. My back door’s jest opposite hers; it’s across the river, to be sure, but it’s the narrer part, and I can see everything she does as plain as daylight. She washed a Monday, and she ain’t taken her clothes in yet, and it’s Thursday. She may be bleachin’ of ‘em out, but it looks slack. I said to Si last night I should stand it till ‘bout Friday,—seein’ ‘em lay on the grass there, but if she didn’t take ‘em in then, I should go over and offer to help her. She has a fire in the settin’-room ‘most every night, though we ain’t had a frost yet; and as near’s I can make out, she’s got full red curtains hangin’ up to her windows. I ain’t sure, for she don’t open the blinds in that room till I get away in the morning, and she shuts ‘em before I get back at night. Si don’t know red from green, so he’s useless in such matters. I’m going home late to-night, and walk down on that side o’ the river, so’t I can call in after dark and see what makes her house light up as if the sun was settin’ inside of it.”

As a matter of fact, Lyddy was reveling in house-furnishing of a humble sort. She had a passion for color. There was a red-and-white straw matting on the sitting-room floor. Reckless in the certain possession of twenty dollars a month, she purchased yards upon yards of turkey red cotton; enough to cover a mattress for the high-backed settle, for long curtains at the windows, and for cushions to the rockers. She knotted white fringes for the table covers and curtains, painted the inside of the fireplace red, put some pots, of scarlet geraniums on the window-sills, filled newspaper rack with ferns and tacked it over an ugly spot in the wall, edged her work-basket with a tufted trimming of scarlet worsted, and made an elaborate photograph case of white crash and red cotton that stretched the entire length of the old-fashioned mantelshelf, and held pictures of Mr. Reynolds, Miss Elvira Reynolds, George, Susy, Anna, John, Hazel, Ella, and Rufus Reynolds, her former charges. When all this was done, she lighted a little blaze on the hearth, took the red curtains from their hands, let them fall gracefully to the floor, and sat down in her rocking-chair, reconciled to her existence for absolutely the first time in her forty years.

I hope Mrs. Butterfield was happy enough in Paradise to appreciate and feel Lyddy’s joy. I can even believe she was glad to have died, since her dying could bring such content to any wretched living human soul. As Lydia sat in the firelight, the left side of her poor face in shadow, you saw that she was distinctly harmonious. Her figure, clad in plain black-and-white calico dress, was a graceful, womanly one. She had beautifully sloping shoulders and a sweet wrist. Her hair was soft and plentiful, and her hands were fine, strong, and sensitive. This possibility of rare beauty made her scars and burns more pitiful, for if a cheap chrome has smirch across its face, we think it a matter of no moment, but we deplore the smallest scratch or blur on any work of real art.

Lydia felt a little less bitter and hopeless about life when she sat in front of her own open fire, after her usual twilight walk. It was her habit to wander down the wooded road after her simple five-o’clock supper, gatherings ferns or goldenrod or frost flowers for her vases; and one night she heard, above the rippling of the river, the strange, sweet, piercing sound of Anthony Croft’s violin.

She drew nearer, and saw a middle-aged man sitting in the kitchen doorway, with a lad of ten or twelve years leaning against his knees. She could tell little of his appearance, save that he had a high forehead, and hair that waved well back from it in rather an unusual fashion. He was in his shirt-sleeves, but the gingham was scrupulously clean, and he had the uncommon refinement of a collar and necktie. Out of sight herself, Lyddy drew near enough to hear; and this she did every night without recognizing that the musician was blind. The music had a curious effect upon her. It was a hitherto unknown influence in her life, and it interpreted her, so to speak, to herself. As she sat on the bed of brown pine needles, under a friendly tree, her head resting against its trunk, her eyes half closed, the tone of Anthony’s violin came like a heavenly message to a tired, despairing soul. Remember that in her secluded life she had heard only such harmony as Elvira Reynolds evoked from her piano or George Reynolds from his flute, and the Reynolds temperament was distinctly inartistic.

Lyddy lived through a lifetime of emotion in these twilight concerts. Sometimes she was filled with an exquisite melancholy from which there was no escape; at others, the ethereal purity of the strain stirred her heart with a strange, sweet vision of mysterious joy; joy that she had never possessed, would never possess; joy whose bare existence she never before realized. When the low notes sank lower and lower with their soft wail of delicious woe, she bent forward into the dark, dreading that something would be lost in the very struggle of listening; then, after a, pause, a pure human tone would break the stillness, and soaring, bird-like, higher and higher, seem to mount to heaven itself, and, “piercing its starry floors,” lift poor scarred Lydia’s soul to the very grates of infinite bliss. In the gentle moods that stole upon her in those summer twilights she became a different woman, softer in her prosperity than she had ever been in her adversity; for some plants only blossom in sunshine. What wonder if to her the music and the musician became one? It is sometimes a dangerous thing to fuse the man and his talents in this way; but it did no harm here, for Anthony Croft was his music, and the music was Anthony Croft. When he played on his violin, it was as if the miracle of its fashioning were again enacted; as if the bird on the quivering bough, the mellow sunshine streaming through the lattice of green leaves, the tinkle of the woodland stream, spoke in every tone; and more than this, the hearth-glow in whose light the patient hands had worked, the breath of the soul bending itself in passionate prayer for perfection, these, too, seemed to have wrought their blessed influence on the willing strings until the tone was laden with spiritual harmony. One might indeed have sung of this little red violin—that looked to Lyddy, in the sunset glow, as if it were veneered with rubies—all that Shelley sang of another perfect instrument:—

“The artist who this viol wrought
To echo all harmonious thought,
Fell’d a tree, while on the steep
The woods were in their winter sleep,
Rock’d in that repose divine
Of the wind-swept Apennine;
And dreaming, some of Autumn past,
And some of Spring approaching fast,
And some of April buds and showers,
And some of songs in July bowers,
And all of love; and so this tree—
O that such our death may be!—
Died in sleep, and felt no pain,
To live in happier form again.”

The viol “whispers in enamoured tone:”—

“Sweet oracles of woods and dells,
And summer windy ill sylvan cells;..
The clearest echoes of the hills,
The softest notes of falling rills,
The melodies of birds and bees,
The murmuring of summer seas,
And pattering rain, and breathing dew,
And airs of evening; all it knew....
—All this it knows, but will not tell
To those who cannot question well
The spirit that inhabits it;…
But, sweetly as its answers will
Flatter hands of perfect skill,
It keeps its highest, holiest tone
For one beloved Friend alone.”