A Window in Thrums by Sir James Matthew Barrie (best sales books of all time .TXT) 📕

lies so quietly on my topmost shelf now. Open it, however, and you will find that the work is entitled "The Millennium: an Epic Poem, in Twelve Books: by James Duthie." In the little hole in his wall where Jimsy kept his books there was, I have no doubt--for his effects were rouped before I knew him except by name--a well-read copy of "Paradise Lost." Some people would smile, perhaps, if they read the two epics side by side, and others might sigh, for there is a great deal in "The Millennium" that Milton could take credit for. Jimsy had educated himself, after the idea of writing something that the world would not willingly let die came to him, and he began his book before his education was complete. So far as I know, he never wrote a line that had not to do with "The Millennium." He was ever a man sparing of his plural tenses, and "The Millennium" says "has" for "have"; a vain word, indeed, which Thrums would only have permitted as a poetical licence. The one original character in the poem is the devil, of whom Jimsy gives a picture that is startling and graphic, and received the approval of the Auld Licht minister.

By trade Jimsy was a printer, a master-printer with no one under him, and he printed and bound his book, ten copies in all, as well as wrote it. To print the poem took him, I dare say, nearly as long as to write it, and he set up the pages as they were written, one by one. The book is only printed on one side of the leaf, and each page was produced separately like a little hand-bill. Those who may pick up the book--but who will care to do so?--will think that the author or his printer could not spell--but they would not do Jimsy that injustice if they knew the circumstances in which it was produced. He had but a small stock of type, and on many occasions he ran out of a letter. The letter e tried him sorely. Those who knew him best said that he tried to think of words without an e in them, but when he was baffled he had to use a little a or an o instead. He could print correctly, but in the book there are a good many capital letters in the middle of words, and sometimes there is a note of interrogation after "alas" or "Woes me," because all the notes of exclamation had been used up.

Jimsy never cared to speak about his great poem even to his closest friends, but Janet told how he read it out to her, and that his whole body trembled with excitement while he raised his eyes to heaven as if asking for inspiration that would enable his voice to do justice to his writing. So grand it was, said Janet, that her stocking would slip from her fingers as he read--and Janet's stockings, that she was always knitting when not otherwise engaged, did not slip from her hands readily. After her death he was heard by his neighbours reciting the poem to himself, generally with his door locked. He is said to have declaimed part of it one still evening from the top of the commonty like one addressing a multitude, and the idlers who had crept up to jeer at him fell back when they saw his face. He walked through them, they told, with his old body straight once more, and a queer light playing on his face. His lips are moving as I see him turning the corner of the brae. So he passed from youth to old age, and all his life seemed a dream, except that part of it in which he was writing, or printing, or stitching, or binding "The Millennium." At last the work was completed.

"It is finished," he printed at the end of the last book. "The task of thirty years is over."

It is indeed over. No one ever read "The Millennium." I am not going to sentimentalize over my copy, for how much of it have I read? But neither shall I say that it was written to no end.

You may care to know the last of Jimsy, though in one sense he was blotted out when the last copy was bound. He had saved one hundred pounds by that time, and being now neither able to work nor to live alone, his friends cast about for a home for his remaining years. He was very spent and feeble, yet he had the fear that he might be still alive when all his money was gone. After that was the workhouse. He covered sheets of paper with calculations about how long the hundred pounds would last if he gave away for board and lodgings ten shillings, nine shillings, seven and sixpence a week. At last, with sore misgivings, he went to live with a family who took him for eight shillings. Less than a month afterwards he died.


CHAPTER XI


THE GHOST CRADLE

Our dinner-hour was twelve o'clock, and Hendry, for a not incomprehensible reason, called this meal his brose. Frequently, however, while I was there to share the expense, broth was put on the table, with beef to follow in clean plates, much to Hendry's distress, for the comfortable and usual practice was to eat the beef from the broth-plates. Jess, however, having three whole white plates and two cracked ones, insisted on the meals being taken genteelly, and her husband, with a look at me, gave way.

"Half a pound o' boiling beef, an' a penny bone," was Leeby's almost invariable order when she dealt with the flesher, and Jess had always neighbours poorer than herself who got a plateful of the broth. She never had anything without remembering some old body who would be the better of a little of it.

Among those who must have missed Jess sadly after she was gone was Johnny Proctor, a half-witted man who, because he could not work, remained straight at a time of life when most weavers, male and female, had lost some inches of their stature. For as far back as my memory goes, Johnny had got his brose three times a week from Jess, his custom being to walk in without ceremony, and, drawing a stool to the table, tell Leeby that he was now ready. One day, however, when I was in the garden putting some rings on a fishing-wand, Johnny pushed by me, with no sign of recognition on his face. I addressed him, and, after pausing undecidedly, he ignored me. When he came to the door, instead of flinging it open and walking in, he knocked primly, which surprised me so much that I followed him.

"Is this whaur Mistress McQumpha lives?" he asked, when Leeby, with a face ready to receive the minister himself, came at length to the door.

I knew that the gentility of the knock had taken both her and her mother aback.

"Hoots, Johnny," said Leeby, "what haver's this? Come awa in."

Johnny seemed annoyed.

"Is this whaur Mistress McQumpha lives?" he repeated.

"Say 'at it is," cried Jess, who was quicker in the uptake than her daughter.

"Of course this is whaur Mistress McQumpha lives," Leeby then said, "as weel ye ken, for ye had yer dinner here no twa hours syne."

"Then," said Johnny, "Mistress Tully's compliments to her, and would she kindly lend the christenin' robe, an' also the tea-tray, if the same be na needed?"

Having delivered his message as instructed, Johnny consented to sit down until the famous christening robe and the tray were ready, but he would not talk, for that was not in the bond. Jess's sweet face beamed over the compliment Mrs. Tully, known on ordinary occasions as Jean McTaggart, had paid her, and, after Johnny had departed laden, she told me how the tray, which had a great bump in the middle, came into her possession.

"Ye've often heard me speak aboot the time when I was a lassie workin' at the farm o' the Bog? Ay, that was afore me an' Hendry kent ane anither, an' I was as fleet on my feet in thae days as Leeby is noo. It was Sam'l Fletcher 'at was the farmer, but he maun hae been gone afore you was mair than born. Mebbe, though, ye ken 'at he was a terrible invalid, an' for the hinmost years o' his life he sat in a muckle chair nicht an' day. Ay, when I took his denner to 'im, on that very tray 'at Johnny cam for, I little thocht 'at by an' by I would be sae keepit in a chair mysel.

"But the thinkin' o' Sam'l Fletcher's case is ane o' the things 'at maks me awfu' thankfu' for the lenient wy the Lord has aye dealt wi' me; for Sam'l couldna move oot o' the chair, aye sleepin in't at nicht, an' I can come an' gang between mine an' my bed. Mebbe, ye think I'm no much better off than Sam'l, but that's a terrible mistak. What a glory it would hae been to him if he could hae gone frae one end o' the kitchen to the ither. Ay, I'm sure o' that.

"Sam'l was rale weel liked, for he was saft-spoken to everybody, an' fond o' ha'en a gossip wi' ony ane 'at was aboot the farm. We didna care sae muckle for the wife, Eppie Lownie, for she managed the farm, an' she was fell hard an' terrible reserved we thocht, no even likin' ony body to get friendly wi' the mester, as we called Sam'l. Ay, we made a richt mistak."

As I had heard frequently of this queer, mournful mistake made by those who considered Sam'l unfortunate in his wife, I turned Jess on to the main line of her story.

"It was the ghost cradle, as they named it, 'at I meant to tell ye aboot. The Bog was a bigger farm in thae days than noo, but I daursay it has the new steadin' yet. Ay, it winna be new noo, but at the time there were sic a commotion aboot the ghost cradle, they were juist puttin' the new steadin' up. There was sax or mair masons at it, wi' the lads on the farm helpin', an' as they were all sleepin' at the farm, there was great stir aboot the place. I couldna tell ye hoo the story aboot the farm's bein' haunted rose, to begin wi', but I mind fine hoo fleid I was; ay, an' no only me, but every man-body an' woman-body on the farm. It was aye late 'at the soond began, an' we never saw naething, we juist heard it. The masons said they wouldna hae been sae fleid if they could hae seen't, but it never was seen. It had the soond o' a cradle rockin', an' when we lay in our beds hearkenin', it grew louder an' louder till it wasna to be borne, an' the women-folk fair skirled wi' fear. The mester was intimate wi' a' the stories aboot ghosts an' water-kelpies an' sic like, an' we couldna help listenin' to them. But he aye said 'at ghosts 'at was juist heard an' no seen was the maist fearsome an' wicked. For all there was sic fear