Harper's New Monthly Magazine: No. XVI.—September, 1851—Vol. III.Various
History
Harper's New Monthly Magazine: No. XVI.—September, 1851—Vol. III.
Various
American literature -- Periodicals; Civilization -- Periodicals; Culture -- Periodicals
And now we alight from the hackney-coach, and take a timid survey of our
new abode. It is a gaunt brick building, large and stately, with
"Miss ----'s Establishment for Young Ladies," inscribed on a brass plate
on the door. I hold my mother's hand, and feel that it trembles, as we
are ushered into a stark, staring room, which, at this cool season of
the year, is without fire. The door opens, and our relative appears. She
imprints a fashionable kiss on my mother's pale cheek, and notices our
presence by the words, "Fine children, but very countrified, my dear
cousin." We have tea in a small parlor, where is a fire, but I observe
that my mother can not eat; and little Edward bursting into a fit of
crying, with the words, "I do not like this house--I want to go home,"
we are all dissolved together, at which Miss ---- frowns mentally,
ejaculating, "No spirit, no energy--a bad beginning, truly." I wonder,
in my simple soul, what this energy means, of which my mother has been
said to be deficient. It can not be that she has done wrong in letting
those tears flow which have filled her eyes so often during the day, for
I have often seen people weep at our house in the olden time, when they
have been relating their troubles, when my father's gentle eye would
grow more kind, his voice more soft. He would then speak another
language, which now I know to be the language of promise, breathed by
the great Eternal himself in the ear of his suffering ones.
I pass over some weeks, during which my mother has been duly installed
into her office of teacher--rising early, to give lessons before
breakfast; afterward walking out with the young people; then teaching
all through the livelong day, till evening brings some repose. She
always puts us to bed herself, and this is not a very hurried operation,
for we clasp her round the neck, call her "dear mamma," and tell her how
much we love her. She will then listen to our simple devotions, and tear
herself away. Then we hear her in a room adjoining, pouring forth her
soul in song. She sings the old lays, but there is another tone mingling
with them--one that affects the listener to tears; for, stealing out of
bed and opening the door, I have met other listeners, whose gay young
faces showed that those saddened melodies had touched some mysterious
chord, awaking it to sadness and tears.
Public-domain text, read in full here on John Shaqi.
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