A Woman Named Smith by Marie Conway Oemler (uplifting novels .txt) 📕

We had wired Judge Gatchell when to expect us, but the venerable negro hackman who was on the lookout for us explained that the judge had a "misery in the laigs" which confined him to his room, and that he advised us to go to the hotel for a while.

We couldn't, for wasn't our own house waiting for us? A minute later we had bundled into the ancient hack and were bumping and splashing through unpaved streets, getting wet, gray glimpses of old houses in old gardens, and every now and then a pink crape-myrtle blushing in the pouring rain. Hyndsville was, it seemed, one of those sprawling, easy-going old Carolina towns that liked plenty of elbow-room and wasn't particular about architectural order. Hynds House itself was on the extreme edge of things.

The hack presently stopped before a high iron gate in a waist-high brick wall with a spiked iron railing on top of it, the whole overrun with weeds and creepers. Of Hynds House itself one couldn't see anything but a stack of chimneys above a forest of trees.

The gate creaked and groaned on its rusty hinges; then we were walking up a weedy, rain-soaked path where untrimmed branches slapped viciously at our faces, and tough brambles, like snares and gins, tried to catch our feet. On each side was a jungle. Of a sudden the path turned, widened into a fairly cleared space; and Hynds House was before us.

We had expected a fair-sized dwelling-house in its garden. And there confronted us, glooming under the gray and threatening sky that seemed the only proper and fitting canopy for it, what looked like a pile reared in medieval Europe rather than a home in America. Its stained brick walls, partly covered with ivy and lichens; its smokeless chimneys; its barred doors; its many shuttered windows, like blind eyes—all appeared deliberately to thrust aside human habitancy.

A residence for woman, child, and man,
A dwelling-place,—and yet no habitation;
A House,—but under some prodigious ban
Of Excommunication.

Yet there was nothing ruinous about it, for the Hyndses had sought to build it as the old Egyptians sought to build their temples—to last forever, to defy time and decay. It was not only meant to be a place for Hyndses to be born and live and die in: it was a monument to Family Pride, a brick-and-granite symbol of place and power.

The walls were of an immense thickness, the corners further strengthened with great blocks of granite. The house had but two stories, with an attic under its sloping roofs, but it gave an effect of height as well as of solidity. Behind it was another brick building, the lower part of which had been used for stables and carriage house, and the upper portion as quarters for the house slaves, in the old days. Another smaller building, slate-roofed and ivy covered, was the spring-house, with a clear, cold little spring still bubbling away as merrily in its granite basin, as if all the Hyndses were not dead and gone. And there was a deep well, protected by a round stone wall, with a cupola-like roof supported by four slender pillars. And everything was dank and weedy and splotched with mildew and with mold.

O'er all there hung a shadow and a fear
    A sense of mystery the spirit daunted
And said, as plain as whisper in the ear,
    The place is Haunted!

When we opened the great front door, above which was the fan-light of Alicia's hope, just as the round front porch had the big pillars, a damp and moldy air met us. The house had not been opened since Sophronisba's funeral, and everything—stairs, settles, tables, cabinets, pictures, the chairs backed inhospitably against the wall as if to prevent anybody from sitting in them—was covered with a shrouding pall of dust.

The hall was cross-shaped, the side passage running between the back drawing-room and library on one side, and the dining-room and two locked rooms on the other. It was a nice place, that side passage, with a fireplace and settles; and beautiful windows opening upon the tangled garden. All the down-stairs walls were paneled: precious woods were not so hard to come by when Hynds House was built. It was lovely, of course, but depressingly dark.

We got one of the big windows open, and let some stale damp air out and some fresh damp air in. Then, having despatched our hackman for certain necessities, Alicia and I turned and stared at each other, another Alicia and Sophy staring back at us from a dim and dusty mirror opposite. If, at that moment, I could have heard the familiar buzzer at my elbow! If I could have heard the good everyday New York "Miss Smith, attend to this, please"! God wot, if I had not literally burned my bridges behind me—Oh, oh, I had!

"The garden around this house,"—Alicia spoke in a whisper—"stretches to the end of the world and then laps over. It hasn't been trimmed since Adam and Eve moved out. But those crape-myrtle trees are quite the loveliest things left over from Paradise, and I'm glad we came here to see them with our own eyes! Brace up, Sophy! We'll feel heaps better when we've had something to eat. Aren't you frightfully hungry, and doesn't a chill suspicion strike you, somewhere around the wishbone, that if that Ancient Mariner of a hackman doesn't get back soon we shall starve?"

At that moment, from somewhere—it seemed to us from up-stairs—a sudden flood of sweetest sound poured goldenly through that sad, dim, dusty house, as if a blithe spirit had slipped in unawares and was bidding us welcome. For a few wonderful moments the exquisite music filled the dark old place and banished gloom and neglect and decay; then, with a pattering scamper, as of the bare, rosy feet of a beloved and mischievous child making a rush for his crib, it went as suddenly as it had come. There was nothing to break the silence but the swishing downpour of the outside rain.

When I could speak: "It came from up-stairs! Somebody's playing a violin up-stairs. I'm going up-stairs to find out who it is."

Alicia demurred: "It may be a real person, Sophy!—a real person with a real violin. But I'd rather believe it's Ariel's self, come out of those pink crape-myrtles. Don't go up-stairs, please, Sophy!"

"Nonsense!" said I. "Somebody's played a violin and I mean to know who he is!"

And up-stairs I went, into a huge dark hall, with the cross-passage cutting it, and closed doors everywhere. At the front end was a most beautiful window, opening doorlike upon a tiny iron bird-cage of a balcony, hung up Southern fashion under the roof of the pillared front porch. At the rear a more ordinary door opened upon the broad veranda that ran the full width of the house. Both door and window were closed, and bolted on the inside, and the big, dark, dusty rooms which I resolutely entered were quite empty, their fireplaces boarded up, their windows close-shuttered. There was no sign anywhere of violin or player. I went down-stairs just as wise as I had gone up.

"I told you it was Ariel!" Alicia stood by the open window—our windows are sunk into the walls, and cased with solid black walnut as Impervious to decay as the granite itself—and leaned out to the wet and dripping garden.

"Sophy," said she, in her high, sweet voice that carries like a thrush's. "Sophy, the best thing about this world is, that the best things in it aren't really real. This is one of its enchanted places. Sycorax used to live in this house: that's what you feel about it yet. But now she's gone, her spell is lifting, and Hynds House is going to come alive and be young again!"

"At least," I grumbled, "admit that the dust inside and the rain outside and the weeds and mud are real; and I'm really hungry!"

"Me too!" Alicia assented instantly and ungrammatically. "Oh, for a square meal!" She thrust her charming head out far enough for the rain to splatter on her bright hair and whip it into curls, and bring a deeper shade of pink to her cheeks, and a deeper blue to her eyes. "Ariel!" she fluted, "Spirit of the Violin, I'm hungry—earthily, worm-of-the-dustly, unromantically hungry! Send us something to eat."

"Why don't you rap on one of the tables," I suggested ironically, "and call up your high spirits to do your bidding?"

"My high spirits won't be above making you a soothing cup of coffee just as soon as that ancient African returns. In the meantime, let's look around us."

People had forests to draw from when they built rooms like those in Hynds House. There were eight of them on the first floor. On one side the two drawing-rooms, the library, and behind that a room evidently used for an office. We didn't know it then, of course, but that library was treasure trove. Almost every book and pamphlet covering the early American settlements, that is of any value at all, is in Hynds House library; we have some pamphlets that even the British Museum lacks.

The rooms had enough furniture to stock half a dozen antique-shops, all of it in a shocking state, the brocades in tatters, the carvings caked with dust. You couldn't see yourself in the tarnished mirrors, the portraits were black with dirt,