In every life worth writing about there is a ruling passion,—“the very pulse of the machine.” Unless you touch that, you are groping around outside of reality.
Sometimes it is romantic love: Natures masterpiece of interested benevolence. In almost all lives this passion has its season of empire. Therefore, and rightly, it is the favourite theme of the storyteller. Romantic love interests almost everybody, because almost everybody knows something about it, or would like to know.
But there are other passions, no less real, which also have their place and power in human life. Some of them come earlier, and sometimes they last longer, than romantic love. They play alongside of it and are mixed up with it, now checking it, now advancing its flow and tingeing it with their own colour.
Just because love is so universal, it is often to one of the other passions that we must look for the distinctive hue, the individual quality of a life-story. Granted, if you will, that everybody must fall in love, or ought to fall in love, How will he do it? And what will he do afterwards? These are questions not without interest to one who watches the human drama as a friend. The answers depend upon those hidden and durable desires, affections, and impulses to which men and women give themselves up for rule and guidance.
Music, nature, children, honour, strife, revenge, money, pride, friendship, loyalty, duty,—to these objects and others like them the secret power of personal passion often turns, and the life unconsciously follows it, as the tides in the sea follow the moon in the sky.
When circumstances cross the ruling passion, when rocks lie in the way and winds are contrary, then things happen, characters emerge, slight events are significant, mere adventures are transformed into a real plot. What care I how many “hair-breadth ‘scapes” and “moving accidents” your hero may pass through, unless I know him for a man? He is but a puppet strung on wires. His kisses are wooden and his wounds bleed sawdust. There is nothing about him to remember except his name, and perhaps a bit of dialect. Kill him or crown him,—what difference does it make?
But go the other way about your work:
and now there is something to tell, with a meaning.
If you tell it at length, it is a novel,—a painting. If you tell it in brief, it is a short story,—an etching. But the subject is always the same: the unseen, mysterious, ruling passion weaving the stuff of human nature into patterns wherein the soul is imaged and revealed.
To tell about some of these ruling passions, simply, clearly, and concretely, is what I want to do in this book. The characters are chosen, for the most part, among plain people, because their feelings are expressed with fewer words and greater truth, not being costumed for social effect. The scene is laid on Nature’s stage because I like to be out-of-doors, even when I am trying to think and learning to write.
“Avalon,” Princeton, July 22, 1901.
He entered the backwoods village of Bytown literally on the wings of the wind. It whirled him along like a big snowflake, and dropped him at the door of Moody’s “Sportsmen’s Retreat,” as if he were a New Year’s gift from the North Pole. His coming seemed a mere chance; but perhaps there was something more in it, after all. At all events, you shall hear, if you will, the time and the manner of his arrival.
It was the last night of December, some thirty-five years ago. All the city sportsmen who had hunted the deer under Bill Moody’s direction had long since retreated to their homes, leaving the little settlement on the border of the Adirondack wilderness wholly under the social direction of the natives.
The annual ball was in full swing in the dining-room of the hotel. At one side of the room the tables and chairs were piled up, with their legs projecting in the air like a thicket of very dead trees.
The huge stove in the southeast corner was blushing a rosy red through its thin coat of whitewash, and exhaling a furious dry heat flavoured with the smell of baked iron. At the north end, however, winter reigned; and there were tiny ridges of fine snow on the floor, sifted in by the wind through the cracks in the window-frames.
But the bouncing girls and the heavy-footed guides and lumbermen who filled the ball-room did not appear to mind the heat or the cold. They balanced and “sashayed” from the tropics to the arctic circle. They swung at corners and made “ladies’ change” all through the temperate zone. They stamped their feet and did double-shuffles until the floor trembled beneath them. The tin lamp-reflectors on the walls rattled like castanets.
There was only one drawback to the hilarity of the occasion. The band, which was usually imported from Sandy River Forks for such festivities,—a fiddle, a cornet, a flute, and an accordion,—had not arrived. There was a general idea that the mail-sleigh, in which the musicians were to travel, had been delayed by the storm, and might break its way through the snow-drifts and arrive at any moment. But Bill Moody, who was naturally of a pessimistic temperament, had offered a different explanation.
“I tell ye, old Baker’s got that blame’ band down to his hotel at the Falls now, makin’ ‘em play fer his party. Them music fellers is onsartin; can’t trust ‘em to keep anythin’ ‘cept the toon, and they don’t alluz keep that. Guess we might uz well shet up this ball, or go to work playin’ games.”
At this proposal a thick gloom had fallen over the assembly; but it had been dispersed by Serena Moody’s cheerful offer to have the small melodion brought out of the parlour, and to play for dancing as well as she could. The company agreed that she was a smart girl, and prepared to accept her performance with enthusiasm. As the dance went on, there were frequent comments of approval to encourage her in the labour of love.
“Sereny’s doin’ splendid, ain’t she?” said the other girls.
To which the men replied, “You bet! The playin’ ‘s reel nice, and good ‘nough fer anybody—outside o’ city folks.”
But Serena’s repertory was weak, though her spirit was willing. There was an unspoken sentiment among the men that “The Sweet By and By” was not quite the best tune in the world for a quadrille. A Sunday-school hymn, no matter how rapidly it was rendered, seemed to fall short of the necessary vivacity for a polka. Besides, the wheezy little organ positively refused to go faster than a certain gait. Hose Ransom expressed the popular opinion of the instrument, after a figure in which he and his partner had been half a bar ahead of the music from start to finish, when he said:
“By Jolly! that old maloney may be chock full o’ relijun and po’try; but it ain’t got no DANCE into it, no more ‘n a saw-mill.”
This was the situation of affairs inside of Moody’s tavern on New Year’s Eve. But outside of the house the snow lay two feet deep on the level, and shoulder-high in the drifts. The sky was at last swept clean of clouds. The shivering stars and the shrunken moon looked infinitely remote in the black vault of heaven. The frozen lake, on which the ice was three feet thick and solid as rock, was like a vast, smooth bed, covered with a white counterpane. The cruel wind still poured out of the northwest, driving the dry snow along with it like a mist of powdered diamonds.
Enveloped in this dazzling, pungent atmosphere, half blinded and bewildered by it, buffeted and yet supported by the onrushing torrent of air, a man on snow-shoes, with a light pack on his shoulders, emerged from the shelter of the Three Sisters’ Islands, and staggered straight on, down the lake. He passed the headland of the bay where Moody’s tavern is ensconced, and probably would have drifted on beyond it, to the marsh at the lower end of the lake, but for the yellow glare of the ball-room windows and the sound of music and dancing which came out to him suddenly through a lull in the wind.
He turned to the right, climbed over the low wall of broken ice-blocks that bordered the lake, and pushed up the gentle slope to the open passageway by which the two parts of the rambling house were joined together. Crossing the porch with the last remnant of his strength, he lifted his hand to knock, and fell heavily against the side door.
The noise, heard through the confusion within, awakened curiosity and conjecture.
Just as when a letter comes to a forest cabin, it is turned over and over, and many guesses are made as to the handwriting and the authorship before it occurs to any one to open it and see who sent it, so was this rude knocking at the gate the occasion of argument among the rustic revellers as to what it might portend. Some thought it was the arrival of the belated band. Others supposed the sound betokened a descent of the Corey clan from the Upper Lake, or a change of heart on the part of old Dan Dunning, who had refused to attend the ball because they would not allow him to call out the figures. The guesses were various; but no one thought of the possible arrival of a stranger at such an hour on such a night, until Serena suggested that it would be a good plan to open the door. Then the unbidden guest was discovered lying benumbed along the threshold.
There was no want of knowledge as to what should be done with a half-frozen man, and no lack of ready hands to do it. They carried him not to the warm stove, but into the semi-arctic region of the parlour. They rubbed his face and his hands vigorously with snow. They gave him a drink of hot tea flavoured with whiskey—or perhaps it was a drink of whiskey with a little hot tea in it—and then, as his senses began to return to him, they rolled him in a blanket and left him on a sofa to thaw out gradually, while they went on with the dance.
Naturally, he was the favourite subject of conversation for the next hour.
“Who is he, anyhow? I never seen ‘im before. Where’d he come from?” asked the girls.
“I dunno,” said Bill Moody; “he didn’t say much. Talk seemed all froze up. Frenchy, ‘cordin’ to what he did say. Guess he must a come from Canady, workin’ on a lumber job up Raquette River way. Got bounced out o’ the camp, p’raps. All them Frenchies is queer.”
This summary of national character appeared to command general assent.
“Yaas,” said Hose Ransom, “did ye take note how he hung on to that pack o’ his’n all the time? Wouldn’t let go on it. Wonder what ‘t wuz? Seemed kinder holler ‘n light, fer all ‘twuz so big an’ wropped up in lots o’ coverin’s.”
“What’s the use of wonderin’?” said one of the younger boys; “find out later on. Now’s the time fer dancin’. Whoop ‘er up!”
So the sound of revelry swept on again in full flood. The men and maids went careering up and down the room. Serena’s willing fingers laboured patiently over the yellow keys of the reluctant melodion. But the ancient instrument was weakening under the strain; the bellows creaked; the notes grew more and more asthmatic.
“Hold the Fort” was the tune, “Money Musk” was the dance; and it was a preposterously bad fit. The figure was tangled up like a fishing-line after trolling all day without a swivel. The dancers were doing their best, determined to be happy, as cheerful as possible, but all out of time. The organ was whirring and gasping and groaning for breath.
Suddenly a new music filled the room.
The right tune—the real old joyful “Money Musk,” played jubilantly, triumphantly, irresistibly—on a fiddle!
The melodion gave one final gasp of surprise and was dumb.
Every one looked up. There, in the parlour door, stood the stranger, with his coat off, his violin hugged close under his chin, his right arm making the bow fly over the strings, his black eyes sparkling, and his stockinged feet marking time to the tune.
“DANSEZ! DANSEZ,” he cried, “EN AVANT! Don’ spik’. Don’ res’! Ah’ll goin’ play de feedle fo’ yo’ jess moch yo’ lak’, eef yo’ h’only DANSE!”
The music gushed from the bow like water from the rock when Moses touched it. Tune followed tune with endless fluency and variety—polkas, galops, reels, jigs, quadrilles; fragments of airs from many lands—“The Fisher’s Hornpipe,” “Charlie is my Darling,” “Marianne s’en va-t-au Moulin,” “Petit Jean,” “Jordan is a Hard Road to Trabbel,” woven together after the strangest fashion and set to the liveliest cadence.
It was a magical performance. No one could withstand it. They all danced together, like the leaves on the shivering poplars when the wind blows through them. The gentle Serena was swept away from her stool at the organ as if she were a little canoe drawn into the rapids, and Bill Moody stepped high and cut pigeon-wings that had been forgotten for a generation. It was long after midnight when the dancers paused, breathless and exhausted.
“Waal,” said Hose Ransom, “that’s jess the hightonedest music we ever had to Bytown. You ‘re a reel player, Frenchy, that’s what you are. What’s your name? Where’d you come from? Where you goin’ to? What brought you here, anyhow?”
“MOI?” said the fiddler, dropping his bow and taking a long breath. “Mah nem Jacques Tremblay. Ah’ll ben come fraum Kebeck. W’ere goin’? Ah donno. Prob’ly Ah’ll stop dis place, eef yo’ lak’ dat feedle so moch, hein?”
His hand passed caressingly over the smooth brown wood of the violin. He drew it up close to his face again, as if he would have kissed it, while his eyes wandered timidly around the circle of listeners, and rested at last, with a question in them, on the face of the hotel-keeper. Moody was fairly warmed, for once, out of his customary temper of mistrust and indecision. He spoke up promptly.
“You kin stop here jess long’s you like. We don’ care where you come from, an’ you need n’t to go no fu’ther, less you wanter. But we ain’t got no use for French names round here. Guess we ‘ll call him Fiddlin’ Jack, hey, Sereny? He kin do the chores in the day-time, an’ play the fiddle at night.”
This was the way in which Bytown came to have a lover of music among its permanent inhabitants.
Jacques dropped into his place and filled it as if it had been made for him. There was something in his disposition that seemed to fit him for just the role that was vacant in the social drama of the settlement. It was not a serious, important, responsible part, like that of a farmer, or a store-keeper, or a professional hunter. It was rather an addition to the regular programme of existence, something unannounced and voluntary, and therefore not weighted with too heavy responsibilities. There was a touch of the transient and uncertain about it. He seemed like a perpetual visitor; and yet he stayed on as steadily as a native, never showing, from the first, the slightest wish or intention to leave the woodland village.
I do not mean that he was an idler. Bytown had not yet arrived at that stage of civilization in which an ornamental element is supported at the public expense.
He worked for his living, and earned it. He was full of a quick, cheerful industry; and there was nothing that needed to be done about Moody’s establishment, from the wood-pile to the ice-house, at which he did not bear a hand willingly and well.
“He kin work like a beaver,” said Bill Moody, talking the stranger over down at the post-office one day; “but I don’t b’lieve he’s got much ambition. Jess does his work and takes his wages, and then gits his fiddle out and plays.”
“Tell ye what,” said Hose Ransom, who set up for the village philosopher, “he ain’t got no ‘magination. That’s what makes men slack. He don’t know what it means to rise in the world; don’t care fer anythin’ ez much ez he does fer his music. He’s jess like a bird; let him have ‘nough to eat and a chance to sing, and he’s all right. What’s he ‘magine about a house of his own, and a barn, and sich things?”
Hosea’s illustration was suggested by his own experience. He had just put the profits of his last summer’s guiding into a new barn, and his imagination was already at work planning an addition to his house in the shape of a kitchen L.
But in spite of his tone of contempt, he had a kindly feeling for the unambitious fiddler. Indeed, this was the attitude of pretty much every one in the community. A few men of the rougher sort had made fun of him at first, and there had been one or two attempts at rude handling. But Jacques was determined to take no offence; and he was so good-humoured, so obliging, so pleasant in his way of whistling and singing about his work, that all unfriendliness soon died out.
He had literally played his way into the affections of the village. The winter seemed to pass more swiftly and merrily than it had done before the violin was there. He was always ready to bring it out, and draw all kinds of music from its strings, as long as any one wanted to listen or to dance.
It made no difference whether there was a roomful of listeners, or only a couple, Fiddlin’ Jack was just as glad to play. With a little, quiet audience, he loved to try the quaint, plaintive airs of the old French songs—“A la Claire Fontaine,” “Un Canadien Errant,” and “Isabeau s’y Promene”—and bits of simple melody from the great composers, and familiar Scotch and English ballads—things that he had picked up heaven knows where, and into which he put a world of meaning, sad and sweet.
He was at his best in this vein when he was alone with Serena in the kitchen—she with a piece of sewing in her lap, sitting beside the lamp; he in the corner by the stove, with the brown violin tucked under his chin, wandering on from one air to another, and perfectly content if she looked up now and then from her work and told him that she liked the tune.
Serena was a pretty girl, with smooth, silky hair, end eyes of the colour of the nodding harebells that blossom on the edge of the woods. She was slight and delicate. The neighbours called her sickly; and a great doctor from Philadelphia who had spent a summer at Bytown had put his ear to her chest, and looked grave, and said that she ought to winter in a mild climate. That was before people had discovered the Adirondacks as a sanitarium for consumptives.
But the inhabitants of Bytown were not in the way of paying much attention to the theories of physicians in regard to climate. They held that if you were rugged, it was a great advantage, almost a virtue; but if you were sickly, you just had to make the best of it, and get along with the weather as well as you could.
So Serena stayed at home and adapted herself very cheerfully to the situation. She kept indoors in winter more than the other girls, and had a quieter way about her; but you would never have called her an invalid. There was only a clearer blue in her eyes, and a smoother lustre on her brown hair, and a brighter spot of red on her cheek. She was particularly fond of reading and of music. It was this that made her so glad of the arrival of the violin. The violin’s master knew it, and turned to her as a sympathetic soul. I think he liked her eyes too, and the soft tones of her voice. He was a sentimentalist, this little Canadian, for all he was so merry; and love—but that comes later.
“Where’d you get your fiddle, Jack? said Serena, one night as they sat together in the kitchen.
“Ah’ll get heem in Kebeck,” answered Jacques, passing his hand lightly over the instrument, as he always did when any one spoke of it. “Vair’ nice VIOLON, hein? W’at you t’ink? Ma h’ole teacher, to de College, he was gif’ me dat VIOLON, w’en Ah was gone away to de woods.”
“I want to know! Were you in the College? What’d you go off to the woods for?”
“Ah’ll get tire’ fraum dat teachin’—read, read, read, h’all taim’. Ah’ll not lak’ dat so moch. Rader be out-door—run aroun’—paddle de CANOE—go wid de boys in de woods—mek’ dem dance at ma MUSIQUE. A-a-ah! Dat was fon! P’raps you t’ink dat not good, hem? You t’ink Jacques one beeg fool, Ah suppose?”
“I dunno,” said Serena, declining to commit herself, but pressing on gently, as women do, to the point she had in view when she began the talk. “Dunno’s you’re any more foolish than a man that keeps on doin’ what he don’t like. But what made you come away from the boys in the woods and travel down this way?”
A shade passed over the face of Jacques. He turned away from the lamp and bent over the violin on his knees, fingering the strings nervously. Then he spoke, in a changed, shaken voice.
“Ah’l tole you somet’ing, Ma’amselle Serene. You ma frien’. Don’ you h’ask me dat reason of it no more. Dat’s somet’ing vair’ bad, bad, bad. Ah can’t nevair tole dat—nevair.”
There was something in the way he said it that gave a check to her gentle curiosity and turned it into pity. A man with a secret in his life? It was a new element in her experience; like a chapter in a book. She was lady enough at heart to respect his silence. She kept away from the forbidden ground. But the knowledge that it was there gave a new interest to Jacques and his music. She embroidered some strange romances around that secret while she sat in the kitchen sewing.
Other people at Bytown were less forbearing. They tried their best to find out something about Fiddlin’ Jack’s past, but he was not communicative. He talked about Canada. All Canadians do. But about himself? No.
If the questions became too pressing, he would try to play himself away from his inquisitors with new tunes. If that did not succeed, he would take the violin under his arm and slip quickly out of the room. And if you had followed him at such a time, you would have heard him drawing strange, melancholy music from the instrument, sitting alone in the barn, or in the darkness of his own room in the garret.
Once, and only once, he seemed to come near betraying himself. This was how it happened.
There was a party at Moody’s one night, and Bull Corey had come down from the Upper Lake and filled himself up with whiskey.
Bull was an ugly-tempered fellow. The more he drank, up to a certain point, the steadier he got on his legs, and the more necessary it seemed for him to fight somebody. The tide of his pugnacity that night took a straight set toward Fiddlin’ Jack.
Bull began with musical criticisms. The fiddling did not suit him at all. It was too quick, or else it was too slow. He failed to perceive how any one could tolerate such music even in the infernal regions, and he expressed himself in plain words to that effect. In fact, he damned the performance without even the faintest praise.
But the majority of the audience gave him no support. On the contrary, they told him to shut up. And Jack fiddled along cheerfully.
Then Bull returned to the attack, after having fortified himself in the bar-room. And now he took national grounds. The French were, in his opinion, a most despicable race. They were not a patch on the noble American race. They talked too much, and their language was ridiculous. They had a condemned, fool habit of taking off their hats when they spoke to a lady. They ate frogs.
Having delivered himself of these sentiments in a loud voice, much to the interruption of the music, he marched over to the table on which Fiddlin’ Jack was sitting, and grabbed the violin from his hands.
“Gimme that dam’ fiddle,” he cried, “till I see if there’s a frog in it.”
Jacques leaped from the table, transported with rage. His face was convulsed. His eyes blazed. He snatched a carving-knife from the dresser behind him, and sprang at Corey.
“TORT DIEU!” he shrieked, “MON VIOLON! Ah’ll keel you, beast!”
But he could not reach the enemy. Bill Moody’s long arms were flung around the struggling fiddler, and a pair of brawny guides had Corey pinned by the elbows, hustling him backward. Half a dozen men thrust themselves between the would-be combatants. There was a dead silence, a scuffling of feet on the bare floor; then the danger was past, and a tumult of talk burst forth.
But a strange alteration had passed over Jacques. He trembled. He turned white. Tears poured down his cheeks. As Moody let him go, he dropped on his knees, hid his face in his hands, and prayed in his own tongue.
“My God, it is here again! Was it not enough that I must be tempted once before? Must I have the madness yet another time? My God, show the mercy toward me, for the Blessed Virgin’s sake. I am a sinner, but not the second time; for the love of Jesus, not the second time! Ave Maria, gratia plena, ora pro me!”
The others did not understand what he was saying. Indeed, they paid little attention to him. They saw he was frightened, and thought it was with fear. They were already discussing what ought to be done about the fracas.
It was plain that Bull Corey, whose liquor had now taken effect suddenly, and made him as limp as a strip of cedar bark, must be thrown out of the door, and left to cool off on the beach. But what to do with Fiddlin’ Jack for his attempt at knifing—a detested crime? He might have gone at Bull with a gun, or with a club, or with a chair, or with any recognized weapon. But with a carving-knife! That was a serious offence. Arrest him, and send him to jail at the Forks? Take him out, and duck him in the lake? Lick him, and drive him out of the town?
There was a multitude of counsellors, but it was Hose Ransom who settled the case. He was a well-known fighting-man, and a respected philosopher. He swung his broad frame in front of the fiddler.
“Tell ye what we’ll do. Jess nothin’! Ain’t Bull Corey the blowin’est and the mos’ trouble-us cuss ‘round these hull woods? And would n’t it be a fust-rate thing ef some o’ the wind was let out ‘n him?”
General assent greeted this pointed inquiry.
“And wa’n’t Fiddlin’ Jack peacerble ‘nough ‘s long ‘s he was let alone? What’s the matter with lettin’ him alone now?”
The argument seemed to carry weight. Hose saw his advantage, and clinched it.
“Ain’t he given us a lot o’ fun here this winter in a innercent kind o’ way, with his old fiddle? I guess there ain’t nothin’ on airth he loves better ‘n that holler piece o’ wood, and the toons that’s inside o’ it. It’s jess like a wife or a child to him. Where’s that fiddle, anyhow?”
Some one had picked it deftly out of Corey’s hand during the scuffle, and now passed it up to Hose.
“Here, Frenchy, take yer long-necked, pot-bellied music-gourd. And I want you boys to understand, ef any one teches that fiddle ag’in, I’ll knock hell out ‘n him.”
So the recording angel dropped another tear upon the record of Hosea Ransom, and the books were closed for the night.
For some weeks after the incident of the violin and the carving-knife, it looked as if a permanent cloud had settled upon the spirits of Fiddlin’ Jack. He was sad and nervous; if any one touched him, or even spoke to him suddenly, he would jump like a deer. He kept out of everybody’s way as much as possible, sat out in the wood-shed when he was not at work, and could not be persuaded to bring down his fiddle. He seemed in a fair way to be transformed into “the melancholy Jaques.”
It was Serena who broke the spell; and she did it in a woman’s way, the simplest way in the world—by taking no notice of it.
“Ain’t you goin’ to play for me to-night?” she asked one evening, as Jacques passed through the kitchen. Whereupon the evil spirit was exorcised, and the violin came back again to its place in the life of the house.
But there was less time for music now than there had been in the winter. As the snow vanished from the woods, and the frost leaked out of the ground, and the ice on the lake was honeycombed, breaking away from the shore, and finally going to pieces altogether in a warm southeast storm, the Sportsmen’s Retreat began to prepare for business. There was a garden to be planted, and there were boats to be painted. The rotten old wharf in front of the house stood badly in need of repairs. The fiddler proved himself a Jack-of-all-trades and master of more than one.
In the middle of May the anglers began to arrive at the Retreat—a quiet, sociable, friendly set of men, most of whom were old-time acquaintances, and familiar lovers of the woods. They belonged to the “early Adirondack period,” these disciples of Walton. They were not very rich, and they did not put on much style, but they understood how to have a good time; and what they did not know about fishing was not worth knowing.