Our Square and the People in ItAdams, Samuel Hopkins
General
Our Square and the People in It
Adams, Samuel Hopkins
New York (N.Y.) -- Social life and customs -- 20th century -- Fiction; Short stories
“Oh, well, I think it's very mean of you. You may go and sit on that
pile of coats--the unpressed ones--and watch me work my poor fingers to
the bone sewing on buttons until your hard heart softens and you come to
a properer frame of mind.”
Accordingly I sat down and contemplated, not without a certain grim
satisfaction, the spectacle of a brown-and-gold fairy sentenced to
honest labor. Shadows deepened in the room until she was almost in
darkness. If the necessity of labor weighed upon her blithe spirit, she
gave no evidence of it, for presently she began to hum to herself in
a soft, crooning undertone, “speech half-asleep or song half-awake.”
Clearer and clearer grew the melody, waxing to full awakeness, as the
fresh and lovely young voice filled the room with the verse, one single
line of which had dragged the Little Red Doctor's heart back across the
unforgetting years:--
“The falling dew is cold and chill,
And no bird sings in Arcady;
The little fauns have left the hill;
Even the tired daffodil
Has closed its gilded doors, and still
My lover comes not back to me.”
The girlish voice trembled and stopped. The singer's hands fell into her
lap. Her eyes dreamed. I think she must have forgotten, in the spell of
music that she wove, the presence of an old man in the darkening room.
I heard a soft, weary little catch of the breath, and then a name
pronounced low and beseechingly, “Chris.” Now, this drama, as laid out
by that romantic manageress the Bonnie Lassie, did not include music.
The fairy song, I strongly suspect, was the interposition of the Higher
Gods of Destiny. For the spell of it evolved and made real the past, and
out of the past stepped the Little Red Doctor and stood trembling in the
doorway of the ol'-clo' repository.
“Who sang?” he gasped.
I sat motionless. Neither the Bonnie Lassie nor the Higher Fates had
assigned me a speaking part in the crisis.
“Whose voice was that?” said the Little Red Doctor fearfully. “Am I
hearing sounds that don't exist?”
Out of the deepest of the shadows came the voice, broken, and thrilling.
“Chris! Oh, Chris, is it really you?”
“Ethel!” said the Little Red Doctor in a breathless cry.
He stumbled halfway across the dim room, encountered a chair, and
stopped. “What are you doing here?” he demanded. His voice had hardened
suddenly to that of a cross-examiner.
All the appealing and dramatic fiction which the Bonnie Lassie had
carefully instilled into her subject for this crisis--the once rich and
careless butterfly girl now brought low in the world and working for her
precarious living--went by the board. “I--I-d-d-d-don't know,” stammered
the brown-and-gold fairy.
“You--don't--know,” he repeated. Then, vehemently; “You must know.”
Silence from the dim corner.
“Have you come back here to make my life wretched with longing again?”
“No. Oh, no!”
“Well? Why, then?”
Public-domain text, read in full here on John Shaqi.
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