Kitabı oku: «Lippincott's Magazine of Popular Literature and Science, Vol. XVI., December, 1880.», sayfa 9

As in the Château à Toto MM. Meilhac and Halévy had made a modern perversion of Dame Blanche, so in La Cigale did they dress up afresh the story of the Fille du R'egiment. As the poet asks—

 
Ah, World of ours, are you so gray,
And weary, World, of spinning,
That you repeat the tales to-day
You told at the beginning?
For lo! the same old myths that made
The early stage-successes
Still hold the boards, and still are played
With new effects and dresses.
 

I have cited La Cigale, not because it is a very good play—for it is not—but because it shows the present carelessness of French dramatists in regard to dramatic construction. La Cigale is a very clever bit of work, but it has the slightest of plots, and this made out of old cloth; and the situations, in so far as there are any, follow each other as best they may. It is not really a play: it is a mere sketch touched up with Parisianisms, "local hits" and the wit of the moment. This substitution of an off-hand sketch for a full-sized picture can better be borne in a little one-act play than in a more ambitious work in three or four acts.

And of one-act plays Meilhac and Halévy have written a score or more—delightful little genre pictures, like the Été de Saint-Martin, simple pastels, like Toto chez Tata, and vigorous caricatures, like the Photographe or the Brésilien. The Frenchman invented the ruffle, says Emerson: the Englishman added the shirt. These little dramatic trifles are French ruffles. In the beginning of his theatrical career M. Meilhac did little comedies like the Sarabande and the Autographe, in the Scribe formula—dramatized anecdotes, but fresher in wit and livelier in fancy than Scribe's. This early work was far more regular than we find in some of his latest, bright as these are: the Petit Hôtel, for instance, and Lolotte are etchings, as it were, instantaneous photographs of certain aspects of life in the city by the Seine or stray paragraphs of the latest news from Paris.

It is perhaps not too much to say that Meilhac and Halévy are seen at their best in these one-act plays. They hit better with a single-barrel than with a revolver. In their five-act plays, whether serious like Fanny Lear or comic like La Vie Parisienne, the interest is scattered, and we have a series of episodes rather than a single story. Just as the egg of the jelly-fish is girt by circles which tighten slowly until the ovoid form is cut into disks of independent life, so if the four intermissions of some of Meilhac and Halévy's full-sized plays were but a little longer and wider and deeper they would divide the piece into five separate plays, any one of which could fairly hope for success by itself. I have heard that the Roi Candaule was originally an act of La Boule, and the Photographe seems as though it had dropped from La Vie Parisienne by mistake. In M. Meilhac's earlier five-act plays, the Vertu de Celimène and the Petit fils de Mascarille, there is great power of conception, a real grip on character, but the main action is clogged with tardy incidents, and so the momentum is lost. In these comedies the influence of the new school of Alexandre Dumas fils is plainly visible. And the inclination toward the strong, not to say violent, emotions which Dumas and Angier had imported into comedy is still more evident in Fanny Lear, the first five-act comedy which Meilhac and Halévy wrote together, and which was brought out in 1868. The final situation is one of truth and immense effectiveness, and there is great vigor in the creation of character. The decrepit old rake, the Marquis de Noriolis, feeble in his folly and wandering in helplessness, but irresistible when aroused, is a striking figure; and still more striking is the portrait of his wife, now the Marquise de Noriolis, but once Fanny Lear the adventuress—a woman who has youth, beauty, wealth, everything before her, if it were not for the shame which is behind her: gay and witty, and even good-humored, she is inflexible when she is determined; hers is a velvet manner and an iron will. The name of Fanny Lear may sound familiar to some readers because it was given to an American adventuress in Russia by a grand-ducal admirer.

After Fanny Lear came Froufrou, the lineal successor of The Stranger as the current masterpiece of the lachrymatory drama. Nothing so tear-compelling as the final act of Froufrou had been seen on the stage for half a century or more. The death of Froufrou was a watery sight, and for any chance to weep we are many of us grateful. And yet it was a German, born in the land of Charlotte and Werther,—it was Heine who remarked on the oddity of praising the "dramatic poet who possesses the art of drawing tears—a talent which he has in common with the meanest onion." It is noteworthy that it was by way of Germany that English tragedy exerted its singular influence on French comedy. Attracted by the homely power of pieces like The Gamester and Jane Shore, Diderot in France and Lessing in Germany attempted the tragédie bourgeoise, but the right of the "tradesmen's tragedies"—as Goldsmith called them—to exist at all was questioned until Kotzebue's pathetic power and theatrical skill captured nearly every stage in Europe. In France the bastard offspring of English tragedy and German drama gave birth to an equally illegitimate comédie larmoyante. And so it happens that while comedy in English literature, resulting from the clash of character, is always on the brink of farce, comedy in French literature may be tinged with passion until it almost turns to tragedy. In France the word "comedy" is elastic and covers a multitude of sins: it includes the laughing Boule and the tearful Froufrou: in fact, the French Melpomene is a sort of Jeanne qui pleure et Jeanne qui rit.

So it happens that Froufrou is a comedy. And indeed the first three acts are comedy of a very high order, full of wit and rich in character. I mentioned The Stranger a few lines back, and the contrast of the two plays shows how much lighter and more delicate French art is. The humor to be found in The Stranger is, to say the least, Teutonic; and German humor is like the simple Italian wines: it will not stand export. And in The Stranger there is really no character, no insight into human nature. Misanthropy and Repentance, as Kotzebue called his play (The Stranger was Sheridan's title for the English translation he revised for his own theatre), are loud-sounding words when we capitalize them, but they do not deceive us now: we see that the play itself is mostly stalking sententiousness, mawkishly overladen with gush. But in Froufrou there is wit of the latest Parisian kind, and there are characters—people whom we might meet and whom we may remember. Brigard, for one, the reprobate old gentleman, living even in his old age in that Bohemia which has Paris for its capital, and dyeing his few locks because he feels himself unworthy to wear gray hair,—Brigard is a portrait from life. The Baron de Cambri is less individual, and I confess I cannot quite stomach a gentleman who is willing to discuss the problem of his wife's virtue with a chance adorer. But the cold Baronne herself is no commonplace person. And Louise, the elder daughter of Froufrou, the one who had chosen the better part and had kept it by much self-sacrifice,—she is a true woman. Best, better even than Brigard, is Gilberte, nicknamed "Froufrou" from the rustling of her silks as she skips and scampers airily around. Froufrou, when all is said, is a real creation, a revelation of Parisian femininity, a living thing, breathing the breath of life and tripping along lightly on her own little feet. Marrying a reserved yet deeply-devoted husband because her sister bid her; taking into her home that sister, who had sacrificed her own love for the husband; seeing this sister straighten the household which she in her heedless seeking for idle amusement had not governed, then beginning to feel herself in danger and aware of a growing jealousy, senseless though it be, of the sister who has so innocently supplanted her by her hearth, and even with her child; making one effort to regain her place, and failing, as was inevitable,—poor Froufrou takes the fatal plunge which will for ever and at once separate her from what was hers before. What a fine scene is that at the end of the third act, in which Froufrou has worked herself almost to a frenzy, and, hopeless in her jealousy, gives up all to her sister and rushes from the house to the lover she scarcely cares for! And how admirably does all that has gone before lead up to it! These first three acts are a wonder of constructive art. Of the rest of the play it is hard to speak so highly. The change is rather sudden from the study of character in the first part to the demand in the last that if you have tears you must prepare to shed them now. The brightness is quenched in gloom and despair. Of a verity, frivolity may be fatal, and death may follow a liking for private theatricals and the other empty amusements of fashion; but is it worth while to break a butterfly on the wheel and to put a humming-bird to the question? To say what fate shall be meted out to the woman taken in adultery is always a hard task for the dramatist. Here the erring and erratic heroine comes home to be forgiven and to die, and so after the fresh and unforced painting of modern Parisian life we have a finish full of conventional pathos. Well, death redeems all, and, as Pascal says, "the last act is always tragedy, whatever fine comedy there may have been in the rest of life. We must all die alone."

J. BRANDER MATTHEWS.

THE KING'S GIFTS

 
Cyrus the king in royal mood
Portioned his gifts as seemed him good:
To Artabasus, proud to hold
The priceless boon, a cup of gold—
A rare-wrought thing: its jewelled brim
Haloed a nectar sweet to him.
No flavor fine it seemed to miss;
But when the king stooped down, a kiss
To leave upon Chrysantas' lips,
The jewels paled in dull eclipse
To Artabasus: hard and cold
And empty grew the cup of gold.
"Better, O Sire, than mine," cried he,
"I deem Chrysantas' gift to be."
Yet the wise king his courtiers knew,
And unto each had given his due.
 
 
To all who watch and all who wait
The king will come, or soon or late.
Choose well: thy secret wish is known,
And thou shalt surely have thine own—
A golden cup thy poor wealth's sign,
Or on thy lips Love's seal divine.
 

EMILY A. BRADDOCK

BAUBIE WISHART

"I have taken you at your word, you see, Miss Mackenzie. You told me not to give alms in the street, and to bring the begging children to you. So here is one now."

Thus introduced, the begging child was pushed forward into the room by the speaker, a lady who was holding her by one shoulder.

She was a stunted, slim creature, that might have been any age from nine to fourteen, barefooted and bareheaded, and wearing a Rob Roy tartan frock. She entered in a sidelong way that was at once timid and confidently independent, and stared all round her with a pair of large brown eyes. She did not seem to be in the least frightened, and when released by her guardian stood at ease comfortably on one foot, tucking the other away out of sight among the not too voluminous folds of her frock.

It was close on twelve o'clock of a March day in the poor sewing-women's workroom in Drummond street. The average number of women of the usual sort were collected together—a depressed and silent gathering. It seemed as if the bitter east wind had dulled and chilled them into a grayer monotony of look than usual, so that they might be in harmony with the general aspect which things without had assumed at its grim bidding. A score or so of wan faces looked up for a minute, but the child, after all, had nothing in her appearance that was calculated to repay attention, and the lady was known to them all. So "white seam" reasserted its old authority without much delay.

Miss Mackenzie laid down the scissors which she had been using on a bit of coarse cotton, and advanced in reply to the address of the newcomer. "How do you do? and where did you pick up this creature?" she asked, looking curiously at the importation.

"Near George IV. Bridge, on this side of it, and I just took hold of her and brought her off to you at once. I don't believe"—this was said sotto voce—"that she has a particle of clothing on her but that frock."

"Very likely.—What is your name, my child?"

"Baubie Wishart, mem." She spoke in an apologetic tone, glancing down at her feet, the one off duty being lowered for the purpose of inspection, which over, she hoisted the foot again immediately into the recesses of the Rob Roy tartan.

"Have you a father and mother?"

"Yes, mem."

"What does your father do?"

Baubie Wishart glanced down again in thought for an instant, then raised her eyes for the first time directly to her questioner's face: "He used to be a Christy man, but he canna be that any longer, sae he goes wi' boords."

"Why cannot he be a Christy man any longer?"

Down came the foot once more, and this time took up its position permanently beside the other: "Because mother drinks awfu', an' pawned the banjo for drink." This family history was related in the most matter-of-fact, natural way.

"And does your father drink too?" asked Miss Mackenzie after a short pause.

Baubie Wishart's eyes wandered all round the room, and with one toe she swept up a little mass of dust before she answered in a voice every tone of which spoke unwilling truthfulness, "Just whiles—Saturday nichts."

"Is he kind to you?"

"Ay," looking up quickly, "excep' just whiles when he's fou—Saturday nichts, ye ken—and then he beats me; but he's rale kind when he's sober."

"Were you ever at school?"

"No, mem," with a shake of the head that seemed to convey that she had something else, and probably better, to do.

"Did you ever hear of God?" asked the lady who had brought her.

"Ay, mem," answered Baubie quite readily: "it's a kind of a bad word I hear in the streets."

"How old are you?" asked both ladies simultaneously.

"Thirteen past," replied Baubie, with a promptness that made her listeners smile, suggesting as it did the thought that the question had been put to her before, and that Baubie knew well the import of her answer.

She grew more communicative now. She could not read, but, all the same, she knew two songs which she sang in the streets—"Before the Battle" and "After the Battle;" and, carried away by the thought of her own powers, she actually began to give proof of her assertion by reciting one of them there and then. This, however, was stopped at once. "Can knit too," she added then.

"Who taught you to knit?"

"Don' know. Wis at a Sunday-schuil too."

"Oh, you were? And what did you learn there?"

Baubie Wishart looked puzzled, consulted her toes in vain, and then finally gave it up.

"I should like to do something for her," observed her first friend: "it is time this street-singing came to an end."

"She is intelligent, clearly," said Miss Mackenzie, looking curiously at the child, whose appearance and bearing rather puzzled her. There was not a particle of the professional street-singer about Baubie Wishart, the child of that species being generally clean-washed, or at least soapy, of face, with lank, smooth-combed and greasy hair; and usually, too, with a smug, sanctimonious air of meriting a better fate. Baubie Wishart presented none of these characteristics: her face was simply filthy; her hair was a red-brown, loosened tangle that reminded one painfully of oakum in its first stage. And she looked as if she deserved a whipping, and defied it too. She was just a female arab—an arab plus an accomplishment—bright, quick and inconsequent as a sparrow, and reeking of the streets and gutters, which had been her nursery.

"Yes," continued the good lady, "I must look after her."

"Poor little atom! I suppose you will find out where the parents live, and send the school-board officer to them. That is the usual thing, is it not? I must go, Miss Mackenzie. Good-bye for to-day. And do tell me what you settle for her."

Miss Mackenzie promised, and her friend took her departure.

"Go and sit by the fire, Baubie Wishart, for a little, and then I shall be ready to talk to you."

Nothing loath apparently, Baubie established herself at the end of the fender, and from that coign of vantage watched the on-goings about her with the stoicism of a red Indian. She showed no symptom of wonder at anything, and listened to the disquisitions of Miss Mackenzie and the matron as to the proper adjustment of parts—"bias," "straights," "gathers," "fells," "gussets" and "seams," a whole new language as it unrolled its complexities before her—with complacent indifference.

At last, all the web of cotton being cut up, the time came to go. Miss Mackenzie buttoned up her sealskin coat, and pulling on a pair of warm gloves beckoned Baubie, who rose with alacrity: "Where do your father and mother live?"

"Kennedy's Lodgings, in the Gressmarket, mem."

"I know the place," observed Miss Mackenzie, to whom, indeed, most of these haunts were familiar. "Take me there now, Baubie."

They set out together. Baubie trotted in front, turning her head, dog-fashion, at every corner to see if she were followed. They reached the Grassmarket at last, and close to the corner of the West Bow found an entry with the whitewashed inscription above it, "Kennedy's Lodgings." Baubie glanced round to see if her friend was near, then vanished upward from her sight. Miss Mackenzie kilted her dress and began the ascent of the stairs, the steps of which, hollowed out as they were by the tread of centuries of human feet, afforded a not too safe footing.

Arrived at the third floor, she found Baubie waiting for her, breathless and panting.

"It's here," she said—"the big kitchen, mem."

A long, narrow passage lay before them, off which doors opened on all sides. Precipitating herself at one of these doors, Baubie Wishart, who could barely reach the latch, pushed it open, giving egress to a confusion of noises, which seemed to float above a smell of cooking, in which smell herrings and onions contended for the mastery.

It was a very large room, low-ceilinged, but well enough lighted by a couple of windows, which looked into a close behind. The walls had been whitewashed once upon a time, but the whitewash was almost lost to view under the decorations with which it was overlaid. These consisted of pictures cut out of the illustrated weekly papers or milliners' books. All sorts of subjects were represented: fashion-plates hung side by side with popular preachers and statesmen, race-horses and Roman Catholic saints; red-and white-draped Madonnas elbowed the "full-dress" heroines of the penny weeklies. It was a curious gallery, and a good many of the works of art had the merit of being antique. Generations of flies had emblazoned their deeds of prowess on the papers: streaks of candle-grease bore witness to the inquiring turn of mind, attracted by the letter-press, or the artistic proclivities of Kennedy's lodgers. It was about two, the dinner-hour probably, which accounted for the presence of so many people in the room. Most, but not all, seemed to be of the wandering class. They were variously employed. Some were sitting on the truckle-beds that ran round the walls; one or two were knitting or sewing; a cripple was mending baskets in one of the windows; and about the fire a group were collected superintending the operations which produced, though not unaided, the odors with which the room was reeking.

Miss Mackenzie stood for a few minutes, unnoticed apparently, looking about her at the motley crowd. Baubie on entering the room had raised herself for a second on tiptoe to look into a distant corner, and then, remarking to herself, half audibly, "His boords is gane," subsided, and contented herself with watching Miss Mackenzie's movements.

There seemed to be no one to do the honors. The inmates all looked at each other for a moment hesitatingly, then resumed their various occupations. A young woman, a sickly, livid-faced creature, rose from her place behind the door, and, advancing with a halting step, said to Miss Mackenzie, "Mistress Kennedy's no' in, an' Wishart's oot wi's boords."

"I wanted to see him about this child, who was found begging in the streets to-day."

Miss Mackenzie looked curiously at the woman, wondering if she could belong in any way to the Wishart family. She was a miserable object, seemingly in the last stage of consumption.

"Eh, mem," she answered hurriedly, and drawing nearer, "ye're a guid leddy, I ken, an' tak' t' lassie away oot o' this. The mither's an awfu' wuman: tak' her away wi' ye, or she'll sune be as bad. She'll be like mysel' and the rest o' them here."

"I will, I will," Miss Mackenzie said, shocked and startled, recoiling before the spirit-reeking breath of this warning spectre. "I will, I will," she repeated hastily. There was no use remaining any longer. She went out, beckoning to Baubie, who was busy rummaging about a bed at the top of the room.

Baubie had bethought her that it was time to take her father his dinner. So she slipped over to that corner of the big kitchen which was allotted to the Wishart family and possessed herself of a piece of a loaf which was hidden away there. As she passed by the fire she profited by the momentary abstraction of the people who were cooking to snap up and make her own a brace of unconsidered trifles in the shape of onions which were lying near them. These, with the piece of bread, she concealed on her person, and then returned to Miss Mackenzie, who was now in the passage.

"Baubie," said that lady, "I will send some one here about you. Now, don't let me hear of your singing in the streets or begging again. You will get into trouble if you do."

She was descending the stairs as she spoke, and she turned round when she had reached the entry: "You know the police will take you, Baubie."

"Yes, mem," answered Baubie, duly impressed.

"Well, now, I am going home. Stay: are you hungry?"

Without waiting for her answer, Miss Mackenzie entered a tiny shop close by, purchased a mutton-pie and handed it to Baubie Wishart, who received it with wondering reverence. Miss Mackenzie took her way home westward up the Grassmarket. She turned round before leaving it by way of King's Stables, and caught sight of Bauble's frock by the entry of Kennedy's Lodgings—a tiny morsel of color against the shadow of the huge gray houses. She thought of the big kitchen and its occupants, and the face and words of the poor girl, and promised herself that she would send the school-board officer to Kennedy's Lodgings that very night.

Baubie waited till her friend was well out of sight: then she hid her mutton-pie in the same place with the onions and the piece of bread, and started up the Grassmarket in her turn. She stopped at the first shop she passed and bought a pennyworth of cheese. Then she made her way to the Lothian road, and looked up and down it anxiously in search of the walking advertisement-man. He was not there, so she directed her course toward Princes street, and after promenading it as far east as the Mound, she turned up into George street, and caught sight of her father walking along slowly by the curbstone. It was not long before she overtook him.

"Od, lassie, I wis thinkin' lang," he began wearily as soon as he realized her apparition. Baubie did not wait for him to finish: with a peremptory nod she signified her will, and he turned round and followed her a little way down Hanover street. Then Baubie selected a flight of steps leading to a basement store, and throwing him a look of command flitted down and seated herself at the bottom. It was sheltered from the cold wind and not too much overlooked. Wishart shifted the boards from about his shoulders, and, following her, laid them against the wall at the side of the basement-steps, and sat down heavily beside her. He was a sickly-looking man, sandy-haired, with a depressed and shifty expression of face—not vicious, but weak and vacillating. Baubie seemed to have the upper hand altogether: every gesture showed it. She opened the paper that was wrapped about her fragment of rank yellow cheese, laid it down on the step between them, and then produced, in their order of precedence, the pie, the onions and the bread.

"Wha gied ye that?" asked Wishart, gazing at the mutton-pie.

"A leddy," replied Baubie, concisely.

"An' they?" pointing to the onions.

A nod was all the answer, for Baubie, who was hungry, was busy breaking the piece of loaf. Wishart with great care divided the pie without spilling much more than half its gravy, and began on his half of it and the biggest onion simultaneously. Baubie ate up her share of pie, declined cheese, and attacked her onion and a great piece of crust. The crust was very tough, and after the mutton-pie rather dry and tasteless, and she laid it down presently in her lap, and after a few minutes' passive silence began: "That," nodding at the cheese, or what was left of it rather, "wis all I got—ae penny. The leddy took me up till a hoose, an' anither are that wis there came doon hame and gaed in ben, an' wis speirin' for ye, an' says she'll gie me till the polis for singin' an' askin' money in t' streets, an' wants you to gie me till her to pit in schuil."

She stopped and fixed her eyes on him, watching the effect of her words. Wishart laid down his bread and cheese and stared back at her. It seemed to take some time for his brain to realize all the meaning of her pregnant speech.

"Ay," he said after a while, and with an effort, "I maun tak' ye to Glasgae, to yer aunt. Ye'll be pit in schuil if yer caught."

"I'll no bide," observed Baubie, finishing off her onion with a grimace. The raw onion was indeed strong and hot, even for Bauble's not too epicurean palate, but it had been got for nothing—a circumstance from which it derived a flavor which many people more dainty than Bauble Wishart find to be extremely appetizing.

"Bide!" echoed her father: "they'll mak' ye bide. Gin I had only the banjo agen!" sighed the whilom Christy man, getting up and preparing to adjust the boards once more.

The last crumb of the loaf was done, and Bauble, refreshed, got up too. "Whenll ye be hame?" she questioned abruptly when they had reached the top of the steps.

"Seven. Gaeway hame wi' ye, lassie, noo. Ye didna see her?" he questioned as he walked off.

"Na," replied Bauble, standing still and looking about her as if to choose which way she should take.

He sighed deeply, and moved off slowly on his way back to his post, with the listless, hopeless air that seems to belong to the members of his calling.

Bauble obeyed her parent's commands in so far as that she did go home, but as she took Punch and Judy in her course up the Mound, and diverged as far as a football match in the Meadows, it was nearly seven before Kennedy's Lodgings saw her again.

The following morning, shortly after breakfast, Miss Mackenzie's butler informed her that there was a child who wanted to speak with her in the hall. On going down she found Bauble Wishart on the mat.

"Where is your father? and why did he not come with you?" asked Miss Mackenzie, puzzled.

"He thoucht shame to come an' speak wi' a fine leddy like you." This excuse, plausible enough, was uttered in a low voice and with downcast eyes, but hardly was it pronounced when she burst out rapidly and breathlessly into what was clearly the main object of her visit: "But please, mem, he says he'll gie me to you if ye'll gie him the three shillin's to tak' the banjo oot o' the pawn."

This candid proposal took Miss Mackenzie's breath away. To become the owner of Baubie Wishart, even at so low a price, seemed to her rather a heathenish proceeding, with a flavor of illegality about it to boot. There was a vacancy at the home for little girls which might be made available for the little wretch without the necessity of any preliminary of this kind; and it did not occur to her that it was a matter of any moment whether Mr. Wishart continued to exercise the rôle of "sandwich-man" or returned to his normal profession of banjo-player. Baubie was to be got hold of in any case. With the muttered adjuration of the wretched girl in Kennedy's Lodgings echoing in her ears, Miss Mackenzie determined that she should be left no longer than could be helped in that company.

How earnest and matter of fact she was in delivering her extraordinary errand! thought Miss Mackenzie to herself, meeting the eager gaze of Baubie Wishart's eyes, looking out from beneath her tangle of hair like those of a Skye terrier.

"I will speak to your father myself, Baubie—tell him so—to-morrow, perhaps: tell him I mean to settle about you myself. Now go."

The least possible flicker of disappointment passed over Baubie's face. The tangled head drooped for an instant, then she bobbed by way of adieu and vanished.

That day and the next passed before Miss Mackenzie found it possible to pay her long-promised visit to Mr. Wishart, and when, about eleven in the forenoon, she once more entered the big kitchen in Kennedy's Lodgings, she was greeted with the startling intelligence that the whole Wishart family were in prison.

The room was as full as before. Six women were sitting in the middle of the floor teasing out an old hair mattress. There was the same odor of cooking, early as it was, and the same medley of noises, but the people were different. The basket-making cripple was gone, and in his place by the window sat a big Irish beggar-woman, who was keeping up a conversation with some one (a compatriot evidently) in a window of the close behind.

The mistress of the house came forward. She was a decent-looking little woman, but had rather a hard face, expressive of care and anxiety. On recognizing her visitor she curtsied: "The Wisharts, mem? Yes, they're a' in jail."

"All in jail?" echoed Miss Mackenzie. "Will you come outside and speak to me? There are so many people—"

"Eh yes, mem: I'm sure ye fin' the room closs. Eh yes, mem, the Wisharts are a' in the lock-up."