The Complete Works of L M Montgomery, page 251
“Big words are never beautiful—’incriminating’—’obstreperous’—’international’—’unconstitutional.’ They make me think of those horrible big dahlias and chrysanthemums Cousin Jimmy took me to see at the exhibition in Charlottetown last fall. We couldn’t see anything lovely in them, though some people thought them wonderful. Cousin Jimmy’s little yellow ‘mums, like pale, fairy-like stars shining against the fir copse in the north-west corner of the garden, were ten times more beautiful. But I am wandering from my subject — also a bad habit of mine, according to Mr. Carpenter. He says I must (the italics are his this time!) learn to concentrate — another big word and a very ugly one.
“But I had a good time over that dictionary — much better than I had over the ribbed stockings. I wish I could have a pair — just one pair — of silk stockings. Ilse has three. Her father gives her everything she wants, now that he has learned to love her. But Aunt Elizabeth says silk stockings are immoral. I wonder why — any more than silk dresses.
“Speaking of silk dresses, Aunt Janey Milburn, at Derry Pond — she isn’t any relation really, but everybody calls her that — has made a vow that she will never wear a silk dress until the whole heathen world is converted to Christianity. That is very fine. I wish I could be as good as that, but I couldn’t — I love silk too much. It is so rich and sheeny. I would like to dress in it all the time, and if I could afford to I would — though I suppose every time I thought of dear old Aunt Janey and the unconverted heathen I would feel conscience-stricken. However, it will be years, if ever, before I can afford to buy even one silk dress, and meanwhile I give some of my egg money every month to missions. (I have five hens of my own now, all descended from the gray pullet Perry gave me on my twelfth birthday.) If ever I can buy that one silk dress I know what it is going to be like. Not black or brown or navy blue — sensible, serviceable colours, such as New Moon Murrays always wear — oh, dear, no! It is to be of shot silk, blue in one light, silver in others, like a twilight sky, glimpsed through a frosted window-pane — with a bit of lace-foam here and there, like those little feathers of snow clinging to my window-pane. Teddy says he will paint me in it and call it ‘The Ice Maiden,’ and Aunt Laura smiles and says, sweetly and condescendingly, in a way I hate even in dear Aunt Laura,
“‘What use would such a dress be to you, Emily?’
“It mightn’t be of any use, but I would feel in it as if it were a part of me — that it grew on me and wasn’t just bought and put on. I want one dress like that in my life-time. And a silk petticoat underneath it — and silk stockings!
“Ilse has a silk dress now — a bright pink one. Aunt Elizabeth says Dr. Burnley dresses Ilse far too old and rich for a child. But he wants to make up for all the years he didn’t dress her at all. (I don’t mean she went naked, but she might have as far as Dr. Burnley was concerned. Other people had to see to her clothes.) He does everything she wants him to do now, and gives her her own way in everything. Aunt Elizabeth says it is very bad for her, but there are times when I envy Ilse a little. I know it is wicked, but I cannot help it.
“Dr. Burnley is going to send Ilse to Shrewsbury High School next fall, and after that to Montreal to study elocution. That is why I envy her — not because of the silk dress. I wish Aunt Elizabeth would let me go to Shrewsbury, but I fear she never will. She feels she can’t trust me out of her sight because my mother eloped. But she need not be afraid I will ever elope. I have made up my mind that I will never marry. I shall be wedded to my art.
“Teddy wants to go to Shrewsbury next fall, but his mother won’t let him go, either. Not that she is afraid of his eloping, but because she loves him so much she can’t part with him. Teddy wants to be an artist, and Mr. Carpenter says he has genius and should have his chance, but everybody is afraid to say anything to Mrs. Kent. She is a little bit of a woman — no taller than I am, really, quiet and shy — and yet every one is afraid of her. I am — dreadfully afraid. I’ve always known she didn’t like me — ever since those days long ago when Ilse and I first went up to the Tansy Patch, to play with Teddy. But now she hates me — I feel sure of it — just because Teddy likes me. She can’t bear to have him like anybody or anything but her. She is even jealous of his pictures. So there is not much chance of his getting to Shrewsbury. Perry is going. He hasn’t a cent, but he is going to work his way through. That is why he thinks he will go to Shrewsbury in place of Queen’s Academy. He thinks it will be easier to get work to do in Shrewsbury, and board is cheaper there.
“‘My old beast of an Aunt Tom has a little money,’ he told me, ‘but she won’t give me any of it — unless — unless—’
“Then he looked at me significantly.
“I blushed because I couldn’t help it, and then I was furious with myself for blushing, and with Perry — because he referred to something I didn’t want to hear about — that time ever so long ago when his Aunt Tom met me in Lofty John’s bush and nearly frightened me to death by demanding that I promise to marry Perry when we grew up, in which case she would educate him. I never told anybody about it — being ashamed — except Ilse, and she said,
“‘The idea of old Aunt Tom aspiring to a Murray for Perry!’
“But then, Ilse is awfully hard on Perry and quarrels with him half the time, over things I only smile at. Perry never likes to be outdone by anyone in anything. When we were at Amy Moore’s party last week, her uncle told us a story of some remarkable freak calf he had seen, with three legs, and Perry said,
“‘Oh, that’s nothing to a duck I saw once in Norway.’
“(Perry really was in Norway. He used to sail everywhere with his father when he was little. But I don’t believe one word about that duck. He wasn’t lying — he was just romancing. Dear Mr. Carpenter, I can’t get along without italics.)
“Perry’s duck had four legs, according to him — two where a proper duck’s legs should be, and two sprouting from its back. And when it got tired of walking on its ordinary pair it flopped over on its back and walked on the other pair!
“Perry told this yarn with a sober face, and everybody laughed, and Amy’s uncle said, ‘Go up head, Perry.’ But Ilse was furious and wouldn’t speak to him all the way home. She said he had made a fool of himself, trying to ‘show off’ with a silly story like that, and that no gentleman would act so.
“Perry said: ‘I’m no gentleman, yet, only a hired boy, but some day, Miss Ilse, I’ll be a finer gentleman than anyone you know.’
“‘Gentlemen,’ said Ilse in a nasty voice, ‘have to be born. They can’t be made, you know.’
“Ilse has almost given up calling names, as she used to do when she quarrelled with Perry or me, and taken to saying cruel, cutting things. They hurt far worse than the names used to, but I don’t really mind them — much — or long — because I know Ilse doesn’t mean them and really loves me as much as I love her. But Perry says they stick in his crop. They didn’t speak to each other the rest of the way home, but next day Ilse was at him again about using bad grammar and not standing up when a lady enters the room.
“‘Of course you couldn’t be expected to know that,’ she said in her nastiest voice, ‘but I am sure Mr. Carpenter has done his best to teach you grammar.’
“Perry didn’t say one word to Ilse, but he turned to me.
“‘Will you tell me my faults?’ he said. ‘I don’t mind you doing it — it will be you that will have to put up with me when we’re grown up, not Ilse.’
“He said that to make Ilse angry, but it made me angrier still, for it was an allusion to a forbidden topic. So we neither of us spoke to him for two days and he said it was a good rest from Ilse’s slams anyway.
“Perry is not the only one who gets into disgrace at New Moon. I said something silly yesterday evening which makes me blush to recall it. The Ladies’ Aid met here and Aunt Elizabeth gave them a supper and the husbands of the Aid came to it. Ilse and I waited on the table, which was set in the kitchen because the dining-room table wasn’t long enough. It was exciting at first and then, when every one was served, it was a little dull and I began to compose some poetry in my mind as I stood by the window looking out on the garden. It was so interesting that I soon forgot everything else until suddenly I heard Aunt Elizabeth say, ‘Emily,’ very sharply, and then she looked significantly at Mr. Johnson, our new minister. I was confused and I snatched up the teapot and exclaimed,
“‘Oh, Mr. Cup, will you have your Johnson filled?’
“Everybody roared and Aunt Elizabeth looked disgusted and Aunt Laura ashamed, and I felt as if I would sink through the floor. I couldn’t sleep half the night for thinking over it. The strange thing was that I do believe I felt worse and more ashamed than I would have felt if I had done something really wrong. This is the ‘Murray pride’ of course, and I suppose it is very wicked. Sometimes I am afraid Aunt Ruth Dutton is right in her opinion of me after all.
“No, she isn’t!
“But it is a tradition of New Moon that its women should be equal to any situation and always be graceful and dignified. Now, there was nothing graceful or dignified in asking such a question of the new minister. I am sure he will never see me again without thinking of it and I will always writhe when I catch his eye upon me.
“But now that I have written it out in my diary I don’t feel so badly over it. Nothing ever seems as big or as terrible — oh, nor as beautiful and grand, either, alas! — when it is written out, as it does when you are thinking or feeling about it. It seems to shrink directly you put it into words. Even the line of poetry I had made just before I asked that absurd question won’t seem half as fine when I write it down:
“Where the velvet feet of darkness softly go.
“It doesn’t. Some bloom seems gone from it. And yet, while I was standing there, behind all those chattering, eating people, and saw darkness stealing so softly over the garden and the hills, like a beautiful woman robed in shadows, with stars for eyes, the flash came and I forgot everything but that I wanted to put something of the beauty I felt into the words of my poem. When that line came into my mind it didn’t seem to me that I composed it at all — it seemed as if Something Else were trying to speak through me — and it was that Something Else that made the line seem wonderful — and now when it is gone the words seem flat and foolish and the picture I tried to draw in them not so wonderful after all.
“Oh, if I could only put things into words as I see them! Mr. Carpenter says, ‘Strive — strive — keep on — words are your medium — make them your slaves — until they will say for you what you want them to say.’ That is true — and I do try — but it seems to me there is something beyond words — any words — all words — something that always escapes you when you try to grasp it — and yet leaves something in your hand which you wouldn’t have had if you hadn’t reached for it.
“I remember one day last fall when Dean and I walked over the Delectable Mountain to the woods beyond it — fir woods mostly, but with one corner of splendid old pines. We sat under them and Dean read Peveril of the Peak and some of Scott’s poems to me; and then he looked up into the big, plumy boughs and said,
“‘The gods are talking in the pines — gods of the old northland — of the viking sagas. Star, do you know Emerson’s lines?’
“And then he quoted them — I’ve remembered and loved them ever since.
“The gods talk in the breath of the wold,
They talk in the shaken pine,
And they fill the reach of the old seashore
With dialogue divine;
And the poet who overhears
One random word they say
Is the fated man of men
Whom the ages must obey.
“Oh, that ‘random word’ — that is the Something that escapes me. I’m always listening for it — I know I can never hear it — my ear isn’t attuned to it — but I am sure I hear at times a little, faint, far-off echo of it — and it makes me feel a delight that is like pain and a despair of ever being able to translate its beauty into any words I know.
“Still, it is a pity I made such a goose of myself immediately after that wonderful experience.
“If I had just floated up behind Mr. Johnson, as velvet-footedly as darkness herself, and poured his tea gracefully from Great-grandmother Murray’s silver teapot, like my shadow-woman pouring night into the white cup of Blair Valley, Aunt Elizabeth would be far better pleased with me than if I could write the most wonderful poem in the world.
“Cousin Jimmy is so different. I recited my poem to him this evening after we had finished with the catalogue and he thought it was beautiful. (He couldn’t know how far it fell short of what I had seen in my mind.) Cousin Jimmy composes poetry himself. He is very clever in spots. And in other spots, where his brain was hurt when Aunt Elizabeth pushed him into our New Moon well, he isn’t anything. There’s just blankness there. So people call him simple, and Aunt Ruth dares to say he hasn’t sense enough to shoo a cat from cream. And yet if you put all his clever spots together there isn’t anybody in Blair Water has half as much real cleverness as he has — not even Mr. Carpenter. The trouble is you can’t put his clever spots together — there are always those gaps between. But I love Cousin Jimmy and I’m never in the least afraid of him when his queer spells come on him. Everybody else is — even Aunt Elizabeth, though perhaps it is remorse with her, instead of fear — except Perry. Perry always brags that he is never afraid of anything — doesn’t know what fear is. I think that is very wonderful. I wish I could be so fearless. Mr. Carpenter says fear is a vile thing, and is at the bottom of almost every wrong and hatred of the world.
“‘Cast it out, Jade,’ he says—’cast it out of your heart. Fear is a confession of weakness. What you fear is stronger than you, or you think it is, else you wouldn’t be afraid of it. Remember your Emerson—”always do what you are afraid to do.”’
“But that is a counsel of perfection, as Dean says, and I don’t believe I’ll ever be able to attain to it. To be honest, I am afraid of a good many things, but there are only two people in the world I’m truly afraid of. One is Mrs. Kent, and the other is Mad Mr. Morrison. I’m terribly afraid of him and I think almost every one is. His home is in Derry Pond, but he hardly ever stays there — he roams over the country looking for his lost bride. He was married only a few weeks when his young wife died, many years ago, and he has never been right in his mind since. He insists she is not dead, only lost, and that he will find her some time. He has grown old and bent, looking for her, but to him she is still young and fair.
“He was here one day last summer, but would not come in — just peered into the kitchen wistfully and said, ‘Is Annie here?’ He was quite gentle that day, but sometimes he is very wild and violent. He declares he always hears Annie calling to him — that her voice flits on before him — always before him, like my random word. His face is wrinkled and shrivelled and he looks like an old, old monkey. But the thing I hate most about him is his right hand — it is a deep blood-red all over — birth-marked. I can’t tell why, but that hand fills me with horror. I could not bear to touch it. And sometimes he laughs to himself very horribly. The only living thing he seems to care for is his old black dog that always is with him. They say he will never ask for a bite of food for himself. If people do not offer it to him he goes hungry, but he will beg for his dog.
“Oh, I am terribly afraid of him, and I was so glad he didn’t come into the house that day. Aunt Elizabeth looked after him, as he went away with his long, gray hair streaming in the wind, and said,
“‘Fairfax Morrison was once a fine, clever, young man, with excellent prospects. Well, God’s ways are very mysterious.’
“‘That is why they are interesting,’ I said.
“But Aunt Elizabeth frowned and told me not to be irreverent, as she always does when I say anything about God. I wonder why. She won’t let Perry and me talk about Him, either, though Perry is really very much interested in Him and wants to find out all about Him. Aunt Elizabeth overheard me telling Perry one Sunday afternoon what I thought God was like, and she said it was scandalous.
“It wasn’t! The trouble is, Aunt Elizabeth and I have different Gods, that is all. Everybody has a different God, I think. Aunt Ruth’s, for instance, is one that punishes her enemies — sends ‘judgments’ on them. That seems to me to be about all the use He really is to her. Jim Cosgrain uses his to swear by. But Aunt Janey Milburn walks in the light of her God’s countenance, every day, and shines with it.
“I have written myself out for to-night, and am going to bed. I know I have ‘wasted words’ in this diary — another of my literary faults, according to Mr. Carpenter.
“‘You waste words, Jade — you spill them about too lavishly. Economy and restraint — that’s what you need.
“He’s right, of course, and in my essays and stories I try to practise what he preaches. But in my diary, which nobody sees but myself, or ever will see until after I’m dead, I like just to let myself go.”
********
Emily looked at her candle — it, too, was almost burned out. She knew she could not have another that night — Aunt Elizabeth’s rules were as those of Mede and Persian: she put away her diary in the little right-hand cupboard above the mantel, covered her dying fire, undressed and blew out her candle. The room slowly filled with the faint, ghostly snow-light of a night when a full moon is behind the driving storm-clouds. And just as Emily was ready to slip into her high black bedstead a sudden inspiration came — a splendid new idea for a story. For a minute she shivered reluctantly: the room was getting cold. But the idea would not be denied. Emily slipped her hand between the feather tick of her bed and the chaff mattress and produced a half-burned candle, secreted there for just such an emergency.
