Chapter II: Part 2

I had engaged him by the year. Twice a week he came and went through his whole repertoire, and lately, out of sympathy for me, he would play the _Miserere_ of the _Trovatore_, [Footnote: Miserere of the Trovatore. Trovatore is an opera by Verdi.] which was his show piece, twice over. He stood there in the middle of the street looking steadfastly up at my windows while he played, and when he had finished he would take off his hat with an "Addio, Signor!" [Footnote: Addio Signer: "Good-by, Sir."]

It is well known that the barrel-organ, like the violin, gets a fuller and more sympathetic tone the older it is. The old artist had an excellent instrument, not of the modern noisy type which imitates a whole orchestra with flutes and bells and beats of drums, but a melancholy old-fashioned barrel-organ [Footnote: A melancholy barrel organ. What does the author mean by this?] which knew how to lend a dreamy mystery to the gayest allegretto, [Footnote: Allegretto: lively, a musical term to denote the tempo of a composition.] and in whose proudest tempo di Marcia [Footnote: Tempo di Marcia: marching time.] there sounded an unmistakable undertone of resignation. And in the tenderer pieces of the repertoire, where the melody, muffled and staggering like a cracked old human voice, groped its way amongst the rusty pipes of the treble, then there was a trembling in the bass like suppressed sobs. Now and then the voice of the tired organ failed it completely, and then the old man would resignedly turn the handle during some bars of rest more touching in their eloquent silence than any music.

True, the instrument was itself very expressive, but the old man had surely his share in the sensation of melancholy which came over me whenever I heard his music. He had his beat in the poor quarter behind the Jardin des Plantes, [Footnote: Jardin des Plantes: the botanical garden.] and many times during my solitary rambles up there had I stopped and taken my place among the scanty audience of ragged street boys which surrounded him.

It was not difficult to see that times were hard--the old man's clothes were doubtful, and the pallor of poverty lay over his withered features, where I read the story of a long life of failure. He came from the mountains around Monte Cassino, [Footnote: Monte Cassino: a monastery on a hill near Cassino, Italy, about forty-five miles from Naples.] so he informed me, but where the monkey hailed from I never quite got to know.

Thus we met from time to time during my rambles in the poor quarters. Had I a moment to spare I stopped for a while to listen to a tune or two, as I saw that it gratified the old man, and since I always carried a lump of sugar in my pocket for any dog acquaintance I might possibly meet, I soon made friends with the monkey also. The relations between the little monkey and her impressario [Footnote: Impressario: the conductor of an opera or a concert.] were unusually cordial, and this notwithstanding that she had completely failed to fulfil the expectations which had been founded upon her--she had never been able to learn a single trick, the old man told me. Thus all attempts at education had long ago been abandoned, and she sat there huddled together on her barrel-organ and did nothing at all. Her face was sad, like that of most animals, and her thoughts were far away. But now and then she woke up from her dreams, and her eyes could then take a suspicious, almost malignant expression, as they lit upon some of the street boys who crowded round her tribune [Footnote: Round her tribune: a curious use of this word, which means a pulpit or bench from which speeches were made.] and tried to pull her tail, which stuck out from her little gold-laced garibaldi. [Footnote: Garibaldi: a jacket which took its name from its likeness in shape to the red shirt worn by the Italian patriot Garibaldi.] To me she was always very amiable; confidently she laid her wrinkled hand in mine and absently she accepted the little attentions I was able to offer her. She was very fond of sweetmeats, and burnt almonds were, in her opinion, the most delectable thing in the world.

Since the old man had once recognized his musical friend on a balcony of the Hotel de L'Avenir, [Footnote: Hotel de L'Avenir: literally, "Hotel of the Future."] he often came and played under my windows. Later on he became engaged, as already said, to come regularly and play twice a week,--it may, perhaps, appear superfluous for one who was studying medicine, but the old man's terms were so small, and you know I have always been so fond of music. Besides it was the only recreation at hand--I was working to take my degree in the spring.

So passed the autumn, and the hard times came. The rich tried on the new winter fashions, and the poor shivered with the cold. It became more and more difficult for well-gloved hands to leave the warm muff or the fur-lined coat to take out a copper for the beggar, and more and more desperate became the struggle for bread amongst the problematical existences [Footnote: The problematical existences. Explain this expression.] of the street.

Now and then I came across my friend, and we always had, as before, a kind word for one another. He was now, wrapped up in an old Abruzzi cloak, [Footnote: Abruzzi cloak. Abruzzi is a division of western Italy including three provinces.] and I noticed that the greater the cold became the faster did he turn the handle to keep himself warm; and towards December the _Miserere_ itself was performed in allegretto.

The monkey had now become civilian, and wrapped up her little thin body in a long ulster such as Englishmen wear; but she was fearfully cold notwithstanding, and, forgetful of all etiquette, more and more often she jumped from the barrel-organ and crept in under the old man's cloak.

And while they were suffering out there in the cold I sat at home in my cosy, warm room, and instead of helping them, I forgot all about them, more and more taken up as I was with my coming examination, with no thought but for myself. And then one day I suddenly left my lodgings and removed to the Hotel Dieu to take the place of a comrade, and weeks passed before I put my foot out of the hospital.

I remember it so well, it was on New Year's Day we met each other again. I was crossing the Place de Notre Dame, [Footnote: Place de Notre Dame. The square in front of Notre Dame Cathedral.] mass was just over, and the people were streaming out of the old cathedral. As usual, a row of beggars was standing before the door, imploring the charity of the church-goers. At the farther end, and at some distance from the others, an old man stood with bent head and outstretched hat, and with painful surprise I recognized my friend in his threadbare old coat without the Abruzzi cloak, without the barrel-organ, without the monkey. My first impulse was to go up to him, but an uneasy feeling of I do not know what held me back; I felt that I blushed and I did not move from my place. Every now and then a passer-by stopped for a moment and made as if to search his pockets, but I did not see a single copper fall into the old man's hat. The place became gradually deserted, and one beggar after another trotted off with his little earnings. At last a child came out of the church, led by a gentleman in mourning; the child pointed towards the old man, and then ran up to him and laid a silver coin in his hat. The old man humbly bowed his head in thanks, and even I, with my unfortunate absent-mindedness, was very nearly thanking the little donor also, so pleased was I. My friend carefully wrapped up the precious gift in an old pocket-handkerchief, and stooping forward, as if still carrying the barrel-organ on his back, he walked off.

I happened to be quite free that morning, and thinking that a little walk before luncheon could do me no harm after the hospital air, I followed him at a short distance across the Seine. [Footnote: Seine. Paris is on the River Seine. "buon giorno": "Good day."] Once or twice I nearly caught him up, and all but tapped him on the shoulder, with a "Buon giorno, Don Gaetano!" Yet, without exactly knowing why, I drew back at the last moment and let him get a few paces ahead of me again.

We had just crossed the Place Maubert [Footnote: Place Maubert: Boulevard St. Germain: streets in Paris.] and turned into the Boulevard St. Germain; the boulevard was full of people, so that, without being noticed, I could approach him quite close. He was standing before an elegant confectioners' shop, and to my surprise he entered without hesitation. I took up my position before the shop window, alongside some shivering street arabs [Footnote: Street Arabs. What is meant by this term?] who stood there, absorbed in the contemplation of the unattainable delicacies within, and I watched the old man carefully untie his pocket-handkerchief and lay the little girl's gift upon the counter. I had hardly time to draw back before he came out with a red paper bag of sweets in his hand, and with rapid steps he started off in the direction of the Jardin des Plantes.

I was very much astonished at what I had seen, and my curiosity made me follow him. He slackened his pace at one of the little slums behind Hopital de la Pitie, [Footnote: Hopital de la Pitie: literally, "Hospital of Pity."] and I saw him disappear into a dirty old house. I waited outside a minute or two and then I groped my way through the pitch-dark entrance, climbed up a filthy staircase, and found a door slightly ajar. An icy, dark room, in the middle three ragged little children crouched together around a half-extinct braziero, [Footnote: Brazier: a pan for burning coals. Tuscan. Tuscany is one of the divisions of northern Italy.] in the corner the only furniture in the room--a clean iron bedstead, with crucifix and rosary hung on the wall above it, and by the window an image of the Madonna adorned with gaudy paper flowers; I was in Italy, in my poor, exiled Italy. And in the purest Tuscan the eldest sister informed me that Don Gaetano lived in the garret. I went up there and knocked, but got no answer, so I opened the door myself. The room was brightly lit by a blazing fire. With his back towards the door, Don Gaetano was on his knees before the stove busy heating a saucepan over the fire; beside him on the floor lay an old mattress with the well-known Abruzzi cloak thrown over it, and close by, spread out on a newspaper, were various delicacies--an orange, walnuts, and raisins, and there also was the red paper bag. Don Gaetano dropped a lump of sugar into the saucepan, stirred it with a stick, and in a persuasive voice I heard him say, "Che bella roba, che bella roba, quanto e buono questa latte con lo zucchero! Non piange anima mia, adesso siamo pronti!" [Footnote: "What nice things, what nice things, how good this milk with sugar is! Don't cry, my darling, it is ready now!"]

A slight rustling was heard beneath the Abruzzi cloak and a black little hand was stretched out toward the red paper bag.

"Primo il latte, primo il latte" admonished the old man. "Non importa, piglio tu una," [Footnote: "The milk first, the milk first--never mind, take one."] he repeated, and took a big burnt almond out of the paper bag; the little hand disappeared, and a crunching was heard under the cloak. Don Gaetano poured the warm milk in a saucer, and then he carefully lifted up a corner of the cloak. There lay the poor little monkey with heaving breast and eyes glowing with fever. Her face had become so small and her complexion was ashy gray. The old man took her on his knees, and tenderly as a mother he poured some spoonfuls of the warm milk into her mouth. She looked with indifferent eyes towards the delicacies on the table, and absently she let her fingers pass through her master's beard. She was so tired that she could hardly hold her head up, and now and then she coughed so that her thin little body trembled, and she pressed both her hands to her temples. Don Gaetano shook his head sadly, and carefully laid the little invalid back under the cloak.

A feeble blush spread over the old man's face as he caught sight of me. I told him that I happened to be passing by just as he was entering his house, and that I took the liberty of following him upstairs in order to bid him good-morning and to give him my new address, in the hope that he would come and play to me as before. I involuntarily looked round for the barrel-organ as I spoke, and Don Gaetano, who understood, informed me that he no longer played the organ--he sang. I glanced at the precious pile of wood beside the fire-place, at the new blanket that hung before the window to keep out the draught, at the delicacies on the newspaper--and I also understood.

The monkey had been ill three weeks--"la febbre," [Footnote: La febbre: the fever.] explained the old man. We knelt one on each side of the bed, and the sick animal looked at me with her mute prayer for help. Her nose was hot, as it is with sick children and dogs, her face wrinkled like that of an old, old woman, and her eyes had got quite a human expression. Her breathing was so short, and we could hear how it rattled in her throat. The diagnosis was not difficult--she had consumption. Now and again she stretched out her thin arms as if she implored us to help her, and Don Gaetano thought that she did so because she wished to be bled. I would willingly have given in in this case, although opposed in principle to this treatment, if I had thought it possible that any benefit could have been derived from it; but I knew only too well how unlikely this was, and I tried my best to make Don Gaetano understand it. Unhappily I did not know myself what there was to be done. I had at that time a friend amongst the keepers of the monkey-house in the Jardin des Plantes, and the same night he came with me to have a look at her; he said that there was nothing to be done, and that there was no hope. And he was right. For one week more the fire blazed in Don Gaetano's garret, then it was left to go out, and it became cold and dark as before in the old man's home.

True, he got his barrel-organ out from the pawn-shop, and now and then a copper fell into his hat. He did not die of starvation, and that was about all he asked of life.

The spring came and I left Paris; and God knows what become of Don Gaetano.

If you happen to hear a melancholy old barrel-organ in the courtyard, go to the window and give a penny to the poor errant [Footnote: Errant: wandering.] musician--perhaps it is Don Gaetano! If you find that his organ disturbs you, try if you like it, better by making him stand a little farther off, but don't send him away with harshness! He has to bear so many hard words as it is; why should not we then be a little kind to him--we who love music?

--AXEL MUNTHE (adapted).

[Footnote: What interested the author in the old organ-grinder? What was the music like? Explain the title of the story. By what incidents does the author show the unselfish devotion of the old musician for his pet? Was his pet winning or lovable? Why did the old man care so much for it? Is the picture of the old man dignified or sordid?

Why? Point out instances of dramatic contrast. Are the descriptions in the story simple or elaborate?]

OUT OF DOORS

St. Guido [Footnote: Saint Guido was a fanciful name given to the little boy because his shock of golden curls looked like the nimbus around a saint's head.] ran out at the garden gate into a sandy lane, and down the lane till he came to a grassy bank. He caught hold of the bunches of grass and so pulled himself up. There was a footpath on the top which went straight in between fir-trees, and as he ran along they stood on each side of him like green walls. They were very near together, and even at the top the space between them was so narrow that the sky seemed to come down, and the clouds to be sailing but just over them, as if they would catch and tear in the fir-trees. The path was so little used that it had grown green, and as he ran he knocked dead branches out of his way. Just as he was getting tired of running he reached the end of the path, and came out into a wheat-field. The wheat did not grow very closely, and the spaces were filled with azure corn-flowers. St. Guido thought he was safe away now, so he stopped to look.

There were the fir-trees behind him--a thick wall of green--hedges on the right and left, and the wheat sloped down towards an ash-copse in the hollow. No one was in the field, only the fir-trees, the green hedges, the yellow, wheat, and the sun overhead. Guido kept quite still, because he expected that in a minute the magic would begin, and something would speak to him. His cheeks, which had been flushed with running, grew less hot, but I cannot tell you the exact color they were; for his skin was so white and clear, it would not tan under the sun, yet being always out of doors it had taken the faintest tint of golden brown mixed with rosiness. His blue eyes which had been wide open, as they always were when full of mischief, became softer, and his long eyelashes drooped over them. But as the magic did not begin, Guido walked on slowly into the wheat, which rose nearly to his head, though it was not yet so tall as it would be before the reapers came. He did not break any of the stalks, or bend them down and step on them; he passed between them, and they yielded on either side. The wheat-ears were pale gold, having only just left off their green, and they surrounded him on all sides as if he were bathing.

A butterfly painted a velvety red with white spots came floating along the surface of the corn, [Footnote: Corn. In England corn means wheat, or sometimes rye or barley or oats. What we call corn the English call maize.] and played round his cap, which was a little higher, and was so tinted by the sun that the butterfly was inclined to settle on it. Guido put up his hand to catch the butterfly, forgetting his secret in his desire to touch it. The butterfly was too quick--with a snap of his wings, disdainfully mocking the idea of catching him, away he went. Guido nearly stepped on a humble-bee--buzz-zz! the bee was so alarmed he actually crept up Guido's knickers to the knee, and even then knocked himself against a wheat-ear when he started to fly. Guido kept quite still while the humble-bee was on his knee, knowing that he should not be stung if he did not move. He knew, too, that humble-bees have stings though people often say they have not, and the reason people think they do not possess them is because humble-bees are so good-natured and never sting unless they are very much provoked.

Another bumble-bee went over along the tips of the wheat--burr-rr--as he passed; then a scarlet fly, and next a bright yellow wasp who was telling a friend flying behind him that he knew where there was such a capital piece of wood to bite up into tiny pieces and make into paper for the nest in the thatch, but his friend wanted to go to the house because there was a pear quite ripe there on the wall. Next came a moth, and after the moth a golden fly, and three gnats, and a mouse ran along the dry ground with a curious sniffing rustle close to Guido. A shrill cry came down out of the air, and looking up he saw two swifts [Footnote: Swifts: swallows.] turning circles, and as they passed each other they shrieked--their voices were so shrill they shrieked. They were only saying that in a month their little swifts in the slates would be able to fly. While he sat so quiet on the ground and hidden by the wheat, he heard a cuckoo such a long way off it sounded like a watch when it is covered up. "Cuckoo" did not come full and distinct--it was such a tiny little "cuckoo" caught in the hollow of Guido's ear. The cuckoo must have been a mile away.

Suddenly he thought something went over, and yet he did not see it--perhaps it was the shadow--and he looked up and saw a large bird not very far up, not farther than he could fling, or shoot his arrows, and the bird was fluttering his wings, but did not move away farther, as if he had been tied in the air. Guido knew it was a hawk, and the hawk was staying there to see if there was a mouse or a little bird in the wheat. After a minute the hawk stopped fluttering and lifted his wings together as a butterfly does when he shuts his, and down the hawk came, straight into the corn. "Go away!" shouted Guido jumping up, and flinging his cap, and the hawk, dreadfully frightened and terribly cross, checked himself and rose again with an angry rush. So the mouse escaped, but Guido could not find his cap for some time. Then he went on, and still the ground sloping sent him down the hill till he came close to the copse.

Some sparrows came out from the copse, [Footnote: Copse: a wood of small trees.] and he stopped and saw one of them perch on a stalk of wheat, with one foot above the other sideways, so that he could pick at the ear and get the corn. Guido watched the sparrow clear the ear, then he moved, and the sparrows flew back to the copse, where they chattered at him for disturbing them. There was a ditch between the corn and the copse, and a streamlet; he picked up a stone and threw it in, and the splash frightened a rabbit, who slipped over the bank and into a hole. The boughs of an oak reached out across to the corn, and made so pleasant a shade that Guido, who was very hot from walking in the sun, sat down on the bank of the streamlet with his feet dangling over it, and watched the floating grass sway slowly as the water ran. Gently he leaned back till his back rested on the sloping ground--he raised one knee, and left the other foot over the verge where the tip of the tallest rushes touched it. Before he had been there a minute he remembered the secret which a fern had taught him.

First, if he wanted to know anything, or to hear a story, or what the grass was saying, or the oak-leaves singing, he must be careful not to interfere as he had done just now with the butterfly by trying to catch him. Fortunately, that butterfly was a nice butterfly, and very kindhearted, but sometimes, if you interfered with one thing, it would tell another thing, and they would all know in a moment, and stop talking, and never say a word. Once, while they were all talking pleasantly, Guido caught a fly in his hand; he felt his hand tickle as the fly stepped on it, and he shut up his little fist so quickly he caught the fly in the hollow between the palm and his fingers. The fly went buzz, and rushed to get out, but Guido laughed, so the fly buzzed again, and just told the grass, and the grass told the bushes, and everything knew in a moment, and Guido never heard another word all that day. Yet sometimes now they all knew something about him; they would go on talking. You see, they all rather petted and spoiled him. Next, if Guido did not hear them conversing, the fern said he must touch a little piece of grass and put it against his cheek, or a leaf, and kiss it, and say, "Leaf, leaf, tell them I am here."

Now, while he was lying down, and the tip of the rushes touched his foot, he remembered this, so he moved the rush with his foot and said, "Rush, rush, tell them I am here." Immediately there came a little wind, and the wheat swung to and fro, the oak-leaves rustled, the rushes bowed, and the shadows slipped forwards and back again. Then it was still.

--RICHARD JEFFERIES (adapted).

[Footnote: Whore do you imagine this scene is laid? What things in the text suggest this? Do you get a single picture, or a rapid succession of pictures? Which is the author really giving you: nature as it is, or as it seems to the boy? Has any of it ever seemed so to you? Note the appeal to sight, hearing, and touch; note the use of color. Does the author show a love for, and knowledge of, nature? Select the passages in which the sympathy between the boy and all nature is dwelt on.]

THE TABOO

There is a marked similarity, almost an identity, between the religious institutions of most of the Polynesian islands; [Footnote: Polynesian Islands: in the Pacific, just east of Australia.] and in all exists the mysterious "Taboo," restricted in its uses to a greater or less extent. So strange and complex in its arrangements is this remarkable system, that I have in several cases met with individuals who, after residing for years among the islands in the Pacific, and acquiring a considerable knowledge of the language, have nevertheless been altogether unable to give any satisfactory account of its operations. Situated as I was in the Typce valley, I perceived every hour the effects of this all-controlling power, without in the least comprehending it. Those effects were indeed wide-spread and universal, pervading the most important as well as the minutest transactions of life. The savage, in short, lives in the continual observance of its dictates, which guide and control every action of his being.

For several days after entering the valley, I had been saluted at least fifty times in the twenty-four hours with the talismanic [Footnote: Talismanic: having the properties of a charm.] word "Taboo" shrieked in my ears, at some gross violation of its provisions, of which I had unconsciously been guilty. The day after our arrival I happened to hand some tobacco to Toby over the head of a native who sat between us. He started up as if stung by an adder; while the whole company, manifesting an equal degree of horror, simultaneously screamed out "Taboo!" I never again perpetrated a similar piece of ill-manners, which indeed was forbidden by the canons of good breeding as well as by the mandates of the taboo. But it was not always so easy to perceive wherein you had contravened [Footnote: Contravened: come into conflict with.] the spirit of this institution. I was many times called to order, if I may use the phrase, when I could not for the life of me conjecture what particular offense I had committed.

One day I was strolling through a secluded portion of the valley; and hearing the musical sound of the cloth-mallet at a little distance, I turned down a path that conducted me in a few moments to a house where there were some half-dozen girls employed in making tappa. [Footnote: Tappa: a kind of cloth made from the inner bark of the paper mulberry.] This was an operation I had frequently witnessed, and had handled the bark in all the various stages of its preparation. On the present occasion the females were intent upon their occupation; and after looking up and talking gayly to me for a few moments, they resumed their employment. I regarded them for awhile in silence, and then carelessly picking up a handful of the material that lay around, proceeded unconsciously to pick it apart. While thus engaged, I was suddenly startled by a scream, like that of a whole boarding-school of young ladies just on the point of going into hysterics. Leaping up with the idea of seeing a score of Happar warriors about to perform anew the Sabine atrocity, [Footnote: Sabine atrocity: referring to the carrying off of the Sabine women by the Romans in the legendary history of early Rome.] I found myself confronted by the company of girls, who, having dropped their work, stood before me with staring eyes, swelling bosoms, and fingers pointed in horror towards me.

Thinking that some venomous reptile must be concealed in the bark which I held in my hand, I began cautiously to separate and examine it. Whilst I did so the horrified girls redoubled their shrieks. Their wild cries and frightened motions actually alarmed me; and throwing down the tappa, I was about to rush from the house, when in the same instant their clamors ceased, and one of them, seizing me by the arm, pointed to the broken fibres that had just fallen from my grasp, and screamed in my ear the fatal word "Taboo!"

I subsequently found out that the fabric they were engaged in making was of a peculiar kind, destined to be worn on the heads of females; and through every stage of its manufacture was guarded by a rigorous taboo, which interdicted the whole masculine gender from even so much as touching it.

Frequently in walking through the groves, I observed bread-fruit and cocoanut trees with a wreath of leaves twined in a peculiar fashion about their trunks. This was the mark of the taboo. The trees themselves, their fruit, and even the shadows they cast upon the ground, were consecrated by its presence. In the same way a pipe which the King had bestowed upon me was rendered sacred in the eyes of the natives, none of whom could I ever prevail upon to smoke from it. The bowl was encircled by a woven band of grass, somewhat resembling those Turks' heads occasionally worked in the handles of our whip-stalks. A similar badge was once braided about my wrist by the royal hand of Mehevi himself, who, as soon as he had concluded the operation, pronounced me "Taboo." This occurred shortly after Toby's disappearance; and were it not that from the first moment I had entered the valley the natives had treated me with uniform kindness, I should have supposed that their conduct afterwards was to be ascribed to the fact that I had received this sacred investiture.

--HERMAN MELVILLE.

[Footnote: The author, Herman Melville, was born in New York in 1819. In his youth he ran away from home and became a sailor on a whaling vessel. Escaping from the cruel tyranny of the captain, he reached the Marquesas Islands, where he had strange adventures as the captive of a tribe of cannibals in the Typee Valley. He lived here many months, and finally returned home in an Australian ship.]

[Footnote: Many writers on the customs of primitive people suppose the taboo to be the earliest form of law. It is commonly imposed by the king or the high priest of the tribe. Does the "taboo" here seem to you to be a matter of law or religion? Have we any "taboos" in our social system? What do we mean when we say of an act or a thing that it is "taboo," or "tabooed"? Does ceremoniousness increase or decrease with civilization?]

SCHOOL DAYS AT THE CONVENT

I waited for night and supper very impatiently. Recreation time began as soon as we left the refectory. [Footnote: Refectory: the dining hall.] In summer the two classes went to the garden. In winter each class went to its own room: the seniors to their fine and spacious study; we to our forlorn quarters, where there was no room to play, and where our teacher forced us to "amuse" ourselves quietly,--that is, not at all. Leaving the refectory always made a momentary confusion, and I admired the way the "devils" of the two classes managed to create the slight disorder under whose favor one could easily escape. The cloister [Footnote: Cloister: the covered arched passage on the side of a court.] had but one little lamp to light it: this left the other three galleries in semi-darkness. Instead of walking straight ahead towards the juniors' room, you stepped to the left, let the flock pass on, and you were free. I did so, and found myself in the dark with my friend Mary and the other "devils" she had told me would be there. They were all armed, some with logs, others with tongs. I had nothing, but was bold enough to go to the school-room, get a poker, and return to my accomplices without being noticed.

Then they initiated me into the great secret, and we started on our expedition.

The great secret was the traditional legend of the convent: a dream handed down from generation to generation, and from "devil" to "devil," for about two centuries; a romantic fiction which may have had some foundation of truth at the beginning, but now rested merely on the needs of our imagination. Its object was to "deliver the victim." There was a prisoner, some said several prisoners, shut up somewhere in an impenetrable retreat: either a cell hidden and bricked up in the thickness of the walls, or in a dungeon under the vaults of the immense sub-basements extending beneath the monastery as well as under a great part of the Saint-Victor district. There were indeed magnificent cellars there,--a real subterranean city, whose limits we never found,--and they had many mysterious outlets at different points within the vast area of the inclosure. We were told that at a great distance off, these cellars joined the excavations running under the greater part of Paris and the surrounding country as far as Vincennes. [Footnote: Vincennes: a town about two miles from Paris.] They said that by following our convent cellars you could reach the Catacombs, [Footnote: Catacombs: subterranean passages.] the quarries, the baths of Julian, [Footnote: Baths of Julian: a Roman emperor of the fourth century.] and what not. These vaults were the key to a world of darkness, terrors, mysteries: an immense abyss dug beneath our feet, closed by iron gates, whose exploration was as perilous as the descent into hell of AEneas or Dante. For this reason it was absolutely imperative to get there, in spite of the insurmountable difficulties of the enterprise, and the terrible punishments the discovery of our secret would provoke.

Entering these subterranean domains was one of those unhoped-for strokes of good luck that occurred once, or at most twice, in the life of a "devil," after years of perseverance and mental effort. It was of no use thinking of getting in by the main door. That door was at the bottom of a wide staircase next to the kitchens, which were cellars too; and here the lay sisters [Footnote: Lay sisters: the nuns who are not in holy orders.] congregated.

But we were sure that the vaults could be reached by a thousand other ways, even by the roof. According to us, every nailed-up door, every dark corner under a staircase, every hollow-sounding wall, might communicate mysteriously with the subterranean region; and we looked for that communication most earnestly up to the very attic.

I had read Mrs. Radcliffe's "Castle of the Pyrenees" [Footnote: Castle of the Pyrenees. Mrs. Radcliffe's novels were the first "mystery and horror" tales to become popular.] at Nohant, with terror and delight. My companions had many another Scotch and Irish legend in their heads, all fit to set one's hair on end. The convent too had innumerable stories of its own lamentable events,--about ghosts, dungeons, inexplicable apparitions, and mysterious noises. All this, and the thought of finally discovering the tremendous secret of the victim, so kindled our imaginations that we were sure we heard sighs and groans start from under the stones, or breathe through the cracks of doors and walls.

We started off, my companions for the hundredth, I for the first time, in search of that elusive captive,--languishing no one knew where, but certainly somewhere, and whom perhaps we were called to discover. She must have been very old, considering how long she had been sought in vain! She might have been over two hundred years old, but we did not mind that! We sought her, called her, thought of her incessantly, and never despaired.

That evening I was led into the oldest and most broken-up part of the buildings,--perhaps the most exciting locality for our exploration. We selected a little passage with wooden railings overlooking an empty space without any known outlet. A staircase with banisters led to this unknown region, but an oaken door forbade access to the stairs. We had to get around the obstacle by passing from the railing to the banisters, and walk down the outside of the worm-eaten balusters. There was a dark void below us whose depth we could not fathom. We had only a little taper (a "rat"), and that hardly let us see more than the first steps of the mysterious staircase.

We were at the bottom in a moment; and with more joy than disappointment found that we were directly under the passage, in a square space without any opening. Not a door nor a window, nor any explicable purpose for this sort of closed vestibule. Why was there a staircase leading into a blind space? Why was there a strong padlocked door shutting off the staircase?

The little taper was divided into several lengths, and each one began examining for herself. The staircase was made of wood. A secret spring in one of the steps must lead to a passage, another staircase, or a hidden trap. While some explored the staircase, and tried to force its old planks apart, others groped along the wall in search of a knob, a rack, a ring, or any of the thousand contrivances mentioned in the chronicles of old manors as moving a stone, turning a panel, or opening an entrance into unknown regions.

Alas, there was nothing! The wall was smooth and plastered. The pavement sounded dull; not a stone was loose, and the staircase hid no spring. One of us looked further. She declared that in the extreme corner under the staircase the wall had a hollow sound; we struck it, and found it true. "It's here!" we all exclaimed. "There's a walled-up passage in there, but that passage leads to the awful dungeon. That is the way down to the sepulchre holding the living victims." We glued our ears to the wall, heard nothing; still the discoverer maintained that she could hear confused groans and clanking chains. What was to be done?

"Why, it's quite plain," said Mary: "we must pull the wall down. All of us together can surely make a hole in it."

Nothing seemed easier to us; and we all went to work,--some trying to knock it down with their logs, others scraping it with their shovels and tongs,--never thinking that by worrying those poor shaky walls, we risked tumbling the building down on our heads. Fortunately we could not do much harm, because the noise made by the logs would have attracted some one.

We had to be satisfied with pushing and scratching. Yet we had managed to make quite a noticeable hole in the plaster, lime, and stones, when the bell rang for prayers. We had just time to repeat our perilous escapade, [Footnote: Escapade: prank.] put out our lights, separate, and grope our way back to the schoolrooms. We put off the continuation of the enterprise till the next day, and appointed the same place of meeting. Those who got there first were not to wait for those who might be detained by punishment or unusual surveillance. Each one was to do her best to scoop out the wall. It would be just so much done toward the next day's work. There was no chance of any one's noticing it, as no one ever went down into that blind hallway given over to mice and spiders.

We dusted each other off, regained the cloister, slipped into our respective class-rooms, and were ready to kneel at prayers with the others. I forget whether we were noticed and punished that evening. It happened so often that no single event of the kind has any special date in the great number. Still we could often carry on our work with impunity.

The search for the great secret and the dungeon lasted the whole winter I spent in the junior class. The wall was perceptibly damaged, but we were stopped by reaching wooden girders. We looked elsewhere, ransacked twenty different places, never having the least success, yet never losing hope.

One day we thought we would look for some mansard [Footnote: Mansard: having two slopes.] window which might be, so to speak, the upper key to the so ardently desired subterranean world. There were many such windows, whose purpose we ignored. There was a little room in the attic where we practiced on one of the thirty pianos scattered through the establishment. We had an hour for this practice every day, and very few of us cared for it. As I always loved music, I liked to practice. But I was becoming more of an artist in romance than music; for what more beautiful poem could there be than the romance in action we were pursuing with our joint imaginations, courage, and palpitating emotions?

In this way the piano hour became the daily hour for adventures, without detriment, however, to the evening ones. We appointed meetings in one of these straggling rooms, and from there would go to the "I don't know where" or the "As you please" of fancy.

From the attic where I was supposed to be playing scales, I could see a labyrinth of roofs, sheds, lofts, and slopes, all covered with moss-grown tiles and decorated with broken chimneys, offering a vast field for new explorations. So on the roof we went. It was not hard to jump out of the window. Six feet below us there was a gutter joining two gables. It was more imprudent than difficult to scale these gables, meet others, jump from slope to slope, and run about like cats; and danger, far from restraining, only seemed to stimulate us.

There was something exceedingly foolish, but at the same time heroic, in this mania of "seeking the victim"; foolish, because we had to suppose that the nuns, whose gentleness and kindness we worshipped, were practicing horrible tortures upon some one; heroic, because we risked our lives every day to deliver an imaginary creature, who was the object of our most generous thought and most chivalrous undertakings.

We had been out about an hour, spying into the garden, looking down on a great part of the courts and buildings, and carefully hiding behind chimneys whenever we saw a black-veiled nun, who might have raised her head and seen us in the clouds, when we asked ourselves how we should get back. The arrangement of the roofs had allowed us to step or jump down. Going up was not so easy. I think it would have been impossible without a ladder. We scarcely knew where we were. At last we recognized a parlor-boarder's window,--Sidonie Macdonald's, the celebrated general's daughter. It could be reached by a final jump, but would be more dangerous than the others. I jumped too hurriedly, and caught my heel in a flat sky-light, through which I should have fallen thirty feet into a hall near the junior's room, if by chance my awkwardness had not made me swerve. I got off with two badly flayed knees, but did not give them a second thought. My heel had broken into a part of the sash of that deuced window, and smashed half a dozen panes, which dropped with a frightful crash quite near the kitchen entrance. A great noise arose at once among the lay sisters, and through the opening I had just made, we could hear Sister Theresa's loud voice screaming, "Cats!" and accusing Whisky--Mother Alippe's big tom-cat--of fighting with all his fellows, and breaking all the windows in the house. But sister Mary defended the cat's morals, and Sister Helen was sure that a chimney had fallen on the roof. This discussion started the nervous giggle that nothing can stop in little girls. We heard the sisters on the stairs, we should be caught in the very act of walking on the roofs, and still we could not stir to find refuge. Then I discovered that one of my shoes was gone,--that it had dropped through the broken sash into the kitchen hall. Though my knees were bleeding, my laughter was so uncontrollable that I could not say a word, but merely showed my unshod foot and explained what had happened by dumb show. A new explosion of laughter followed, although the alarm had been given and the lay sisters were near.

We were soon reassured. Being sheltered and hidden by overhanging roofs, we could hardly be discovered without getting up to the broken window by a ladder, or following the road we had taken. And that was something we could safely challenge any of the nuns to do. So when we had recognized the advantage of our position, we began to me-ouw Homerically, so that Whisky and his family might be accused and convicted in our stead. Then we made for the window of Sidonie, who did not welcome us. The poor child was practicing on the piano, and paying no attention to the feline howls vaguely striking her ear. She was delicate and nervous, very gentle, and quite incapable of understanding what pleasure we could find in roaming over roofs. As she sat playing, her back was turned to the window; and when we burst into it in a bunch, she screamed aloud. We lost little time in quieting her. Her cries would attract the nuns; so we sprang into the room and scampered to the door, while she stood trembling and staring, seeing all the strange procession flit by without understanding it nor recognizing any one of us, so terrified was she. In a moment we had all dispersed: one went to the upper room whence we had started, and played the piano with might and main; another took a round-about way to the school-room. As for me, I had to find my shoe, and secure that piece of evidence, if I still had the time. I managed to avoid the lay sisters, and to find the kitchen entry free. "Audaces fortuna juvat," [Footnote: Audaces fortuna juvat: "Fortune favors the brave."] said I to myself thinking of the aphorisms Deschartres [Footnote: Deschartres: the tutor of George Sand's father.] had taught me And indeed I found the lucky shoe, where it had fallen in a dark corner and not been seen. Whisky alone was accused. My knees hurt me very much for a few days but, I did not brag of them; and the explorations did not slacken.

--GEORGE SAND (adapted).

[Footnote: George Sand is a nom de plume. The author's real name is Armandine Lucile Aurore Dupin. She was a famous French novelist and playwright--born 1804, died 1876.]

[Footnote: Could you tell from the context where the scene is laid? What kind of child do you imagine the writer was? Has the narrative the stamp of a real experience? Do you know any books similar to what you may imagine the "Castle of the Pyrenees" to be?]

IN BRITTANY

She [the writer, L. M. A.] soon ceased to be surprised at any demonstration of feminine strength, skill, and independence, for everywhere the women took the lead.

They not only kept house, reared children, and knit every imaginable garment the human frame can wear, but kept the shops and the markets, tilled the gardens, cleaned the streets, and bought and sold cattle, leaving the men free to enjoy the only pursuits they seemed inclined to follow,--breaking horses, [Footnote: Breaking horses: training horses to work, an expression familiar to every country child.] mending roads, and getting drunk.

The markets seemed entirely in the hands of the women, and lively scenes they presented to unaccustomed eyes, especially the pig-market, held every week, in the square before Madame C.'s house. At dawn the squealing began, and was kept up till sunset. The carts came in from all the neighboring hamlets, with tubs full of infant pigs, over which the women watched with maternal care till they were safely deposited among the rows of tubs that stood along the walk facing Anne of Bretaigne's [Footnote: Anne of Bretaigne: the daughter of Francis II, duke of Brittany; born at Nantes, 1476.] gray old tower, and the pleasant promenade which was once the fosse [Footnote: Fosse: a moat; a ditch.] about the city walls.

Here Madame would seat herself and knit briskly till a purchaser applied, when she would drop her work, dive among the pink innocents, and hold one up by its unhappy leg, undisturbed by its doleful cries, while she settled its price with a blue-gowned, white-capped neighbor, as sharp-witted and shrill-tongued as herself. If the bargain was struck, they slapped their hands together in a peculiar way, and the new owner clapped her purchase into a meal-bag, slung it over her shoulder, and departed with her squirming, squealing treasure as calmly as a Boston lady with a satchel full of ribbons and gloves.

More mature pigs came to market on their own legs, and very long, feeble legs they were, for a more unsightly beast than a Breton pig was never seen out of a toy Noah's ark. Tall, thin, high-backed, and sharp-nosed, these porcine [Footnote: Porcine: relating to swine; hoglike.] victims tottered to their doom, with dismal wailings, and not a vestige of spirit till the trials and excitement of the day goaded them to rebellion, when their antics furnished fun for the public. Miss Livy observed that the women could manage the pigs when men failed entirely. The latter hustled, lugged, or lashed, unmercifully and unsuccessfully; the former, with that fine tact which helps them to lead nobler animals than pigs, would soothe, sympathize, coax, and gently beguile the poor beasts, or devise ways of mitigating their bewilderment and woe, which did honor to the sex, and triumphantly illustrated the power of moral suasion.

One amiable lady, who had purchased two small pigs and a coop full of fowls, attempted to carry them all on one donkey. But the piggies rebelled lustily in the bags, the ducks remonstrated against their unquiet neighbors, and the donkey indignantly refused to stir a step till the unseemly uproar was calmed. But the Bretonne was equal to the occasion; for, after a pause of meditation, she solved the problem by tying the bags round the necks of the pigs so that they could enjoy the prospect. This appeased them at once, and produced a general lull; for when the pigs stopped squealing, the ducks stopped quacking, the donkey ceased his bray, and the party moved on in dignified silence, with the youthful pigs, one black, one white, serenely regarding life from their bags.