 | CHAPTER XXXIX.
LAST DAYS IN CLOUDLAND. Oldtown folks |  |
39. CHAPTER XXXIX.
LAST DAYS IN CLOUDLAND.
THE day was coming now that the idyl of Cloudland must
end, and our last term wound up with a grand dramatic
entertainment.
It was a time-honored custom in New England academies to
act a play once a year as the closing exercise, and we resolved
that our performance should surpass all others in scenic effect.
The theme of the play was to be the story of Jephthah's daughter,
from the Old Testament. It had been suggested at first to
take Miss Hannah More's sacred drama upon this subject; but
Tina insisted upon it that it would be a great deal better to write
an original drama ourselves, each one taking a character, and
composing one's own part.
Tina was to be Jephthah's daughter, and Esther her mother;
and a long opening scene between them was gotten up by the two
in a private session at their desks in the school-room one night,
and, when perfected, was read to Harry and me for our critical
judgment. The conversation was conducted in blank verse, with
the usual appropriate trimmings and flourishes of that species of
literature, and, on the whole, even at this time, I do not see but
that it was quite as good as Miss Hannah More's.
There was some skirmishing between Harry and myself about
our parts, Harry being, as I thought, rather too golden-haired and
blue-eyed for the grim resolve and fierce agonies of Jephthah.
Moreover, the other part was to be that of Tina's lover, and he
was to act very desperate verses indeed, and I represented to
Harry privately that here, for obvious reasons, I was calculated
to succeed. But Tina overruled me with that easy fluency of
good reasons which the young lady always had at command.
“Harry would make altogether the best lover,” she said; “he
was just cut out for a lover. Then, besides, what does Horace
Horace has n't even begun to think of such things yet.”
This was one of those stringent declarations that my young
lady was always making with regard to me, giving me to understand
that her whole confidence in me was built entirely on my
discretion. Well, I was happy enough to let it go so, for Ellery
Davenport had gone like an evening meteor, and we had ceased
talking and thinking about him. He was out of our horizon entirely.
So we spouted blank verse at each other, morning, noon,
and night, with the most cheerful courage. Tina and Harry had,
both of them, a considerable share of artistic talent, and made
themselves very busy in drawing and painting scenery, — a work
in which the lady principal, Miss Titcomb, gave every assistance;
although, as Tina said, her views of scenery were mostly confined
to what was proper for tombstones. “But then,” she added, “let
her have the whole planning of my grave, with a great weeping
willow over it, — that 'll be superb! I believe the weeping willows
will be out by that time, and we can have real branches.
Won't that be splendid!”
Then there was the necessity of making our drama popular,
by getting in the greatest possible number of our intimate friends
and acquaintances. So Jephthah had to marshal an army on the
stage, and there was no end of paper helmets to be made. In fact,
every girl in school who could turn her hand to anything was
making a paper helmet.
There was to be a procession of Judæan maidens across the
stage, bearing the body of Jephthah's daughter on a bier, after
the sacrifice. This took in every leading girl in the school;
and as they were all to be dressed in white, with blue ribbons,
one may fancy the preparation going on in all the houses far and
near. There was also to be a procession of youths, bearing the
body of the faithful lover, who, of course, was to die, to keep the
departed company in the shades.
We had rehearsals every night for a fortnight, and Harry,
Tina, and I officiated as stage-managers. It is incredible the
trouble we had. Esther acted the part of Judæan matron to perfection,
— her long black hair being let down and dressed after
must be authentic. Esther, however, rebelled at the nose-jewels.
There was no making her understand the Oriental taste of the
thing; she absolutely declined the embellishment, and finally it
was agreed among us that the nose-jewels should be left to the
imagination.
Harry looked magnificent, with the help of a dark mustache,
which Tina very adroitly compounded of black ravelled yarn,
arranging it with such delicacy that it had quite the effect of
hair. The difficulty was that in impassioned moments the
mustache was apt to get awry; and once or twice, while on
his knees before Tina in tragical attitudes, this occurrence set
her off into hysterical giggles, which spoiled the effect of the
rehearsal. But at last we contrived a plaster which the most
desperate plunges of agony could not possibly disarrange.
As my eyes and hair were black, when I had mounted a
towering helmet overshadowed by a crest of bear-skin, fresh
from an authentic bear that Heber Atwood had killed only two
weeks before, I made a most fateful and portentous Jephthah, and
flattered myself secretly on the tragical and gloomy emotions
excited in the breasts of divers of my female friends.
I composed for myself a most towering and lofty entrance
scene, when I came in glory at the head of my troops. I could
not help plagiarizing Miss Hannah More's first line: —
“On Jordan's banks proud Ammon's banners wave.”
Any writer of poems will pity me, when he remembers his
own position, if he has ever tried to make a verse on some
subject and been stuck and pierced through by some line of
another poet, which so sticks in his head and his memory that
there is no possibility of his saying the thing any other way. I
tried beginning, —
“On Salem's plains the summer sun is bright”;
banner which we were to display, and reflected that Josh Billings
was to give an inspiring blast on a bugle behind the scenes, I
perfectly longed to do the glorious and magnificent, and this
resounding line stood right in my way.
“Well, dear me, Horace,” said Tina, “take it, and branch off
from it, — make a text of it.”
And so I did. How martial and Miltonic I was! I really
made myself feel quite serious and solemn with the pomp and
glory of my own language; but I contrived to introduce into my
resounding verses a most touching description of my daughter,
in which I exhausted Oriental images and similes on her charms.
Esther and I were to have rather a tender scene, on parting, as
she was to be my wife; but then we minded it not a jot. The
adroitness with which both these young girls avoided getting into
relations that might savor of reality was an eminent instance of
feminine tact. And while Harry was playing the impassioned
lover at Tina's feet, Esther looked at him slyly, with just the
slightest shade of consciousness, — something as slight as the
quivering of an eyelash, or a tremulous flush on her fair cheek.
There was fire under that rose-colored snow after all, and that
was what gave the subtle charm to the whole thing.
We had an earnest discussion among us four as to what was
proper to be done with the lover. Harry insisted upon it, that,
after tearing his hair and executing all the other proprieties of
despair, he should end by falling on his sword; and he gave us
two or three extemporaneous representations of the manner in
which he intended to bring out this last scene. How we
screamed with laughter over these discussions, as Harry, whose
mat of curls was somewhat prodigious, ran up and down the
room, howling distractedly, running his fingers through his hair
until each separate curl stood on end, and his head was about
the size of a half-bushel! We nearly killed ourselves laughing
over our tragedy, but still the language thereof was none the less
broken-hearted and impassioned.
Tina was vindictive and bloodthirsty in her determination
that the tragedy should be of the deepest dye. She exhibited
the ferocity of a little pirate in her utter insensibility to the
details of blood and murder, and would not hear of any concealment,
or half-measures, to spare anybody's feelings. She insisted
upon being stabbed on the stage, and she had rigged up a kitchen
carving-knife with a handle of gilt paper, ornamented with
terms in her part of the drama as a Tyrian dagger.
“Why Tyrian,” objected Harry, “when it is the Jews that are
fighting the Ammonites?”
“O nonsense, Harry! Tyrian sounds a great deal better, and
the Ammonites, I don't doubt, had Tyrian daggers,” said Tina,
who displayed a feminine facility in the manufacture of facts.
“Tyre, you know,” she added, “was the country where all sorts
of things were made: Tyrian purple and Tyrian mantles, —
why, of course they must have made daggers, and the Jews must
have got them, — of course they must! I 'm going to have it,
not only a Tyrian dagger, but a sacred dagger, taken away from
a heathen temple and consecrated to the service of the Lord.
And only see what a sheath I have made for it! Why, at this
distance it could n't be told from gold! And how do you suppose
that embossed work is made? Why, it 's different-colored
grains of rice and gilt paper rolled up!”
It must be confessed that nobody enjoyed Tina's successes
more heartily than she did herself. I never knew anybody who
had a more perfect delight in the work of her own hands.
It was finally concluded, in full concert, that the sacrifice was
to be performed at an altar, and here came an opportunity for
Miss Titcomb's proficiency in tombstones to exercise itself. Our
altar was to be like the lower part of a monument, so we decided,
and Miss Titcomb had numerous patterns of this kind, subject to
our approval. It was to be made life-size, of large sheets of
pasteboard, and wreathed with sacrificial garlands.
Tina was to come in at the head of a chorus of wailing
maidens, who were to sing a most pathetic lamentation over her.
I was to stand grim and resolved, with my eyes rolled up into
my helmet, and the sacrificial Tyrian dagger in my hands, when
she was to kneel down before the altar, which was to have real
flame upon it. The top of the altar was made to conceal a large
bowl of alcohol, and before the entering of the procession the
lights were all to be extinguished, and the last scene was to
be witnessed by the lurid glare of the burning light on the altar.
Any one who has ever tried the ghostly, spectral, supernatural
by this simple contrivance, can appreciate how very sanguine
our hopes must have been of the tragical power of this denouement.
All came about quite as we could have hoped. The academy
hall was packed and crammed to the ceiling, and our acting
was immensely helped by the loudly expressed sympathy of the
audience, who entered into the play with the most undisguised
conviction of its reality. When the lights were extinguished,
and the lurid flame flickered up on the altar, and Tina entered
dressed in white with her long hair streaming around her, and
with an inspired look of pathetic resignation in her large, earnest
eyes, a sort of mournful shudder of reality came over me, and
the words I had said so many times concerning the sacrifice of
the victim became suddenly intensely real; it was a sort of stage
illusion, an overpowering belief in the present.
The effect of the ghastly light on Tina's face, on Esther's and
Harry's, as they grouped themselves around in the preconcerted
attitudes, was really overwhelming.
It had been arranged that, at the very moment when my hand
was raised, Harry, as the lover, should rush forward with a
shriek, and receive the dagger in his own bosom. This was the
last modification of our play, after many successive rehearsals,
and the success was prodigious. I stabbed Harry to the heart,
Tina gave a piercing shriek and fell dead at his side, and then
I plunged the dagger into my own heart, and the curtain fell,
amid real weeping and wailing from many unsophisticated, soft-hearted
old women.
Then came the last scene, — the procession of youths and
maidens across the stage, bearing the bodies of the two lovers, —
the whole ending in an admirably constructed monument, over
which a large willow was seen waving. This last gave to Miss
Titcomb, as she said, more complete gratification than any scene
that had been exhibited. The whole was a most triumphant
success.
Heber Atwood's “old woman” declared that she caught her
breath, and thought she “should ha' fainted clean away when she
which there was not a youth or a maiden who had borne part in
the chorus, all Cloudland shared in the triumph.
By way of dissipating the melancholy feelings consequent upon
the tragedy, we had a farce called “Our Folks,” which was
acted extemporaneously by Harry, Tina, and myself, consisting
principally in scenes between Harry as Sam Lawson, Tina as
Hepsie, and myself as Uncle Fliakim, come in to make a pastoral
visit, and exhort them how to get along and manage their
affairs more prosperously. There had been just enough strain
upon our nerves, enough reality of tragic exultation, to excite
that hysterical quickness of humor which comes when the nervous
system is well up. I let off my extra steam in Uncle Fliakim
with a good will, as I danced in in my black silk tights,
knocking down the spinning-wheel, upsetting the cradle, setting
the babies to crying, and starting Hepsie's tongue, which lost
nothing of force or fluency in Tina's reproduction. How the
little elf could have transformed herself in a few moments into
such a peaked, sharp, wiry-featured, virulent-tongued virago, was
matter of astonishment to us all; while Harry, with a suit of fluttering
old clothes, with every joint dissolving in looseness, and
with his bushy hair in a sort of dismayed tangle, with his cheeks
sucked in and his eyes protruding, gave an inimitable Sam Lawson.
The house was convulsed; the screams and shrieks of laughter
quite equalled the moans of distress in our tragedy.
And so the curtain fell on our last exhibition in Cloudland.
The next day was all packing of trunks and taking of leave, and
last words from Mr. Rossiter and Mr. Avery to the school, and
settling of board-bills and school-bills, and sending back all the
breastpins from the Tyrian dagger, and a confused kicking about
of helmets, together with interchanges between various Johns
and Joans of vows of eternal constancy, assurances from some
fair ones that, “though they could not love, they should always
regard as a brother,” and from some of our sex to the same purport
toward gentle-hearted Aramintas, — very pleasant to look
upon and charming to dwell upon, — who were not, after all,
notes written, in which Susan Ann told Susan Jane that
“never, never shall we forget the happy hours we 've spent
together on Cloudland hill, — never shall the hand of friendship
grow cold, or the heart of friendship cease to beat with
emotion.”
Poor dear souls all of us! We meant every word that we
said.
It was only the other day that I called in a house on Beacon
Street to see a fair sister, to whom on this occasion I addressed
a most pathetic note, and who sent me a very pretty
curl of golden-brown hair. Now she is Mrs. Boggs, and the
sylph that was is concealed under a most enormous matron; the
room trembles when she sets her foot down. But I found her
heart in the centre of the ponderous mass, and, as I am somewhat
inclining to be a stout old gentleman, we shook the room
with our merriment. Such is life!
The next day Tina was terribly out of spirits, and had two or
three hours of long and bitter crying, the cause of which none of
our trio could get out of her.
The morning that we were to leave she went around bidding
good by to everybody and everything, for there was not a creature
in Cloudland that did not claim some part in her, and
for whom she had not a parting word. And, finally, I proposed
that we should go in to the schoolmaster together and have a last
good time with him, and then, with one of her sudden impulsive
starts, she turned her back on me.
“No, no, Horace! I don't want to see him any more!”
I was in blank amazement for a moment, and then I remembered
the correspondence on the improvement of her mind.
“Tina, you don't tell me,” said I, “that Mr. Rossiter has —”
She turned quickly round and faced on the defensive.
“Now, Horace, you need not talk to me, for it is not my fault!
Could I dream of such a thing, now? Could I? Mr. Rossiter,
of all the men on earth! Why, Horace, I do love him dearly.
I never had any father — that cared for me, at least,” she said,
with a quiver in her voice; “and he was beginning to seem so
him, — and now was I wrong to express it?”
“Why, but, Tina,” said I, in amazement, “Mr. Rossiter cannot
— he could not mean to marry you!”
“No, no. He says that he would not. He asked nothing.
It all seemed to come out before he thought what he was saying,
— that he has been thinking altogether too much of me,
and that when I go it will seem as if all was gone that he cares
for. I can't tell you how he spoke, Horace; there was something
fearful in it, and he trembled. O Horace, he loves me
nobly, disinterestedly, truly; but I felt guilty for it. I felt
that such a power of feeling never ought to rest on such a bit of
thistle-down as I am. Oh! why would n't he stay on the height
where I had put him, and let me reverence and admire him, and
have him to love as my father?”
“But Tina, you cannot, you must not now —”
“I know it, Horace. I have lost him for a friend and father
and guide because he will love me too well.”
And so ends Mr. Jonathan Rossiter's Spartan training.
My good friends of the American Republic, if ever we come
to have mingled among the senators of the United States specimens
of womankind like Tina Percival, we men remaining such
as we by nature are and must be, will not the general hue of
politics take a decidedly new and interesting turn?
Mr. Avery parted from us with some last words of counsel.
“You are going into college life, boys, and you must take care
of your bodies. Many a boy breaks down because he keeps his
country appetite and loses his country exercise. You must balance
study and brain-work by exercise and muscle-work, or
you 'll be down with dyspepsia, and won't know what ails you.
People have wondered where the seat of original sin is; I think
it 's in the stomach. A man eats too much and neglects exercise,
and the Devil has him all his own way, and the little imps, with
their long black fingers, play on his nerves like a piano. Never
overwork either body or mind, boys. All the work that a man
can do that can be rested by one night's sleep is good for him, but
fatigue that goes into the next day is always bad. Never get
When you get into a tight place, and everything goes against you
till it seems as if you could n't hold on a minute longer, never give
up then, for that 's just the place and time that the tide 'll turn.
Never trust to prayer without using every means in your power,
and never use the means without trusting in prayer. Get your
evidences of grace by pressing forward to the mark, and not by
groping with a lantern after the boundary-lines, — and so, boys,
go, and God bless you!”
| CHAPTER XXXIX.
LAST DAYS IN CLOUDLAND. Oldtown folks | |