look.
"What have you seen? a ghost?" he asked.
"Who is writing in that room? Can you tell me?" I said.
"You know them all," was his answer, "except the new-comer, Miss Stuart. Have not you heard the talk of her history,–how the father has failed and died and all that, and how the daughter is glad enough to get work under Mr. Clarkson's patronage?"
The bell was ringing that called me, and I could not listen to more. My brain was whirling uncertainly, and I doubted if I ought to believe my ears. I went back to my work more dazed and bewildered than ever in my youthful days. I forgot the wonder of the morning. It was quite outshone by the wonder of the afternoon. I longed for my hour of release. I longed for a time for thought,–to learn whether what had been told me could be true. When the time came, I hastened down-stairs; but I found the door of the office closed. Its occupants had all gone. I hastened through the village, turned back again, and on the bridge over the little stream met Margaret Stuart. She was the same. It made no difference what were her surroundings, she was the same; there was the same wonderful glance, the same smile of repose. It made no difference where or how I met her, she ruled me still. She greeted me with the same air and manner as in her old home when I saw her first.
She told me afterwards of the changes and misfortunes of the past year, of her desire for independence, and how she found she was little able to uphold it herself.
"Some of my friends," she said, "were very anxious I should teach singing,–I had such a delicious voice, which had been so well cultivated. I could sing Italian opera-songs and the like. But I found I could only sing the songs that pleased me, and it was doubtful whether they would happen to suit the taste or the voice of those I should try to teach. For, I must confess it, I have never cultivated my voice except for my own pleasure, and never for the sake of the art. I did try to teach music a little while, and, oh, it was hopeless! I remembered some of our old talks about drudgery, and thought it had been a happy thing for me, if I had ever learned how to drudge over anything. What I mean is, I have never learned how to go through a monotonous duty, how to give it an inspiration which would make it possible or endurable. It would have been easier to summon up all my struggling for the sake of one great act of duty. I did not know how to scatter it over work day after day the same. Worse than all, in spite of all my education, I did not know enough of music to teach it."
She went on, not merely this evening, but afterwards, to tell me of the different efforts she had made to earn a living for herself with the help of kind friends.
"At last," she said, "I bethought me of my handwriting, of the 'elegant' notes which used to receive such praise; and when I met Mr. Clarkson one day in Boston, I asked him what price he would pay me for it. I will tell you that he was very kind, very thoughtful for me. He fancied the work he had to offer would be distasteful to me; but he has made it as agreeable, as easy to be performed, as can be done. My aunt was willing to come here with me. She has just enough to live upon herself, and we are likely to live comfortably together here. So I am trying that sort of work you praised so much when you were with me; and I shall be glad, if you can go on and show me what inspiration can bring into it."
So day after day I saw her, and evening after evening we renewed the old talks. The summer passed on, and the early morning found her daily at her work, every day pursuing an unaccustomed labor. Her spirit seemed more happy and joyous than ever. She seemed far more at home than in the midst of crowded streets and gay, brilliant rooms. Her expression was more earnest and spiritual than ever,–her life, I thought, gayer and happier.
So I thought till one evening, when we had walked far away down the little stream that led out of the town. We stopped to look into its waters, while she leaned against the trunk of a tree overshadowed it. We watched the light and shade that nickered below, the shadow of the clover-leaves, of the long reeds that hung almost across the stream. The quiet was enhanced by the busy motion below, the bustle of little animal life, the skimming of the water-insects, the tender rustling of the leaves, and the gentle murmuring of the stream itself. Then I looked at her, from the golden hair upon her head down to its shadow in the brook below. I saw her hands folded over each other, and, suddenly, they looked to me very thin and white and very weary. I looked at her again, and her whole posture was one of languor and weariness,–the languor of the body, not a weariness of the soul. There was a happy smile on the lips, and a gleam of happiness from under the half-closed eyes. But, oh, so tired and faint did the slender body look that I almost feared to see the happier spirit leave it, as though it were incumbered by something which could not follow it.
"Margaret!" I exclaimed. "You are wearing yourself away. You were never made for such labor. You cannot learn this sort of toil. You are of the sunshine, to play above the dusty earth, to gladden the dreary places. Look at my hands, that are large for work,–at my heavy shoulders, fitted to bear the yoke. Let me work for us both, and you shall still be the inspiration of my work, and the sunshine that makes it gold. The work we talked of is drudgery for you; you cannot bear it."
I think she would not agree to what I said about her work. She "had began to learn how to find life in every-day work, just as she saw a new sun rise every day." But she did agree that we would work together, without asking where our sunshine came from, or our inspiration.
So it was settled. And her work was around and within the old "natural-colored" house, whose walls by this time were half-embowered in vines. There was gay sunshine without and within. And the lichen was yellow that grew on the deeply sloping roof, and we liked to plant hollyhocks and sunflowers by the side of the quaint old building, while scarlet honeysuckles and trumpet-flowers and gay convolvuli gladdened the front porch.
There was but one question that was left to be disputed between us. Margaret still believed I was an artist, all-undeveloped.
"Those sunbeams"–
"I had nothing to do with them. They married golden threads that seemed kindred to them."
"It is not true. Sunbeams cannot exist without the sun. Your magnetic power, perhaps, attracted the true sunbeam, and you recreated others."
She fancies, if I would only devote myself to Art, I might become an American Murillo, and put a Madonna upon canvas.
But before we carried the new sunshine into the old house, I had been summoned again by Mr. Clarkson. Another wonderful piece of carpeting had gone out from the works, discovered by our agent before it had left our warehouse. It was the Water-Lily pattern,–lilies sitting among green leaves with sunshine playing in and out and among them. So dazzling it seemed, that it shed a light all round the darkened walls of the warehouse. It was priceless, he thought, a perfect unique. Better, almost, that never such a pattern should appear again. It ought to remain the only one in the world.
And it did so remain. The rival establishment built a new chimney to their mill, which shut out completely all sunshine or hope of sunshine from our narrow windows. This was accomplished before the next May, and I showed Mr. Clarkson how utterly impossible it was for the most determined sunbeam ever to mingle itself with our most inviting fabrics. Mr. Clarkson pondered a long time. We might build our establishment a story higher; we might attempt to move it. But here were solid changes, and the hopes were uncertain. Affairs were going on well, and the reputation of the mills was at its height. And the carpets of sunshine were never repeated.
THE TWO TONGUES
Whoever would read a profound political pamphlet under the guise of a brilliant novel may find it in "Sibyl, or The Two Nations." The gay overture of "The Eve of the Derby," at a London club, with which the curtain rises, contrasts with the evening amusements of the prolétaire in the gin-palaces of Manchester in a more than operatic effectiveness, and yet falls rather below than rises above the sober truth of present history. And we are often tempted to bind up the novel of the dashing Parliamenteer with our copy of "Ivanhoe," that we may thus have, side by side, from the pens of the Right Honorable Benjamin Disraeli and Sir Walter Scott, the beginning and the end of these eight hundred years of struggle between Norman rule and Saxon endurance. For let races and families change as they will, there have ever been in England two nations; and the old debate of Wamba and Gurth in the forest-glade by Rotherwood is illustrated by the unconscious satires of last week's "Punch." In Chartism, Reform-Bills, and