Read Ebook: Little Miss By-The-Day by Van Slyke Lucille

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Ebook has 1382 lines and 68652 words, and 28 pages

She sounded so casual and commonplace when I first began hearing about her that I let her slip through my fingers. She was just a little seamstress who had a "vairee" odd way of speaking; it was quite a long time before I realized that everybody who spoke about her was unconsciously trying to imitate her drawling voice. And then I noticed that everybody who mentioned her smiled dreamily and wondered where on earth she'd come from. I kept hearing, just as you probably did, odd scraps of things she had said, droll adventures in which she had figured, extraordinary and fantastic tales about the house in which she lived. And presently, when it was too late, I found myself listening to regretful murmurings of scores of baffled persons who couldn't find out what had become of her. She suddenly vanished, leaving nothing behind her save her delectable house.

Maybe, like me, you've passed that house a dozen times and shuddered at the filth of the little street.

I used to hold my breath as I hurried by that dismal old rookery. I thought it the most hideous purgatory that ever sheltered a horde of miserable humans. But you needn't be afraid to pass it now! The immaculate sweetness and serenity of that wee street is like a miracle and the old house is a fairy dream come true.

Its marble steps are softly yellowed with age, an exquisitely wrought iron balcony stretches across the front above the high ceilinged basement and great carved walnut doors open into a wide vestibule with a marble floor exactly like a bit of a gigantic chessboard. The transformation had so astounded me that I was almost afraid to touch the neatly polished beaten silver bell for fear the whole house would vanish.

"Coom in!" cried a Scotchy voice from the basement. So I stepped across the tessellated floor of the hall into the broad drawing-room and stared out through the long French doors of the glass room at the green smudge of Battery Park beyond the river. There wasn't a soul in sight in any of the rooms and yet I felt as if some one was there. Perhaps it was just that I was awed by the disconcerting loveliness of the portrait of the brunette lady that hung in a tarnished oval frame above the drawing-room mantel. I looked at her and waited. Presently I coughed apologetically.

"Could I please find out if a--er--Miss Day lives here? Or--if anybody here knows her?"

The Scotchy voice lifted itself grudgingly above the vigorous swish of a scrubbing brush.

"I dinna think ony one's home but th' Sculptor Girl--she's on th' top floor an' it's not I that knows whether she's in a speaking humor, but you're weelcoom to try her--"

It was raining, a miserable spring drizzle, yet the spacious hall seemed flooded with sunlight. There's an oval skylight fitted with amber glass; silhouetted against its leaded rims are outlined flying birds.

"Hark, hark! The lark at heaven's gate sings!" I read beneath the margins when I looked up to find the sunlight. I knew that I ought to feel like an impertinent intruder but I just couldn't! And I defy any one to go up those wonderful circling stairs and not smile! For at the head of each flight of steps is a recessed niche such as used to be built to hold statuary and in the one near the second floor is a flat vase filled with flowers--little saffron rosebuds the day I passed by --with an ever so discreet card engraved in sizable old English script that hinted:

"One's for you."

I was still sniffing at my buttonhole when I reached the second niche. There was a black varnished wicker tray heaped with fruit and a Brittany platter filled with raison cookies.

"Aren't you hungry?" the card above them suggested. I nibbled an apricot all the way up the third flight and almost laughed aloud when I reached the top, though of course I was expecting something. There's a yellow glazed vase there,

"For pits and stones Or skins and bones"

and above it in the back of the niche through a marble dolphin's mouth cold water trickles into a bronze holder with a basket of cups beside it.

"Thirsty?" asks the dolphin.

"Dulcie Dierck" I read on the Sculptor Girl's doorplate. It took me a full minute to get the courage to tap her gargoyle knocker because I was so awestricken at remembering that she was the girl who won the Ambrose Medal and the Pendleton Prize and goodness only knows how much other loot and glory.

The door jerked open to let me peer into the cleanest, barest skylit spot,--with flat creamy walls and a little old fireplace with a Peggoty grate just like the pictures in "David Copperfield." And a trig young person who didn't look a bit like an artist, because she was so neatly belted and so smoothly coiffed, waved a clayey thumb tip toward a bench by the fire.

"Sit down and get your breath," she suggested chirkily, "then you won't feel quite so dumfoundered--"

An overwhelming sense of my colossal cheekiness made me stammer.

"Do--do you h-happen to know--" I burst forth desperately, "if there's really any such person as a--a Miss Day?"

"Does that fire look real?"

I nodded.

"Well, then put another stick on that fire and hang the kettle on the hob--" she was washing the clay from her hands in an old brass basin. "Don't get peeved with me because I'm grouchy and bossy--" she flung over her shoulder at me. "I always start off badly when I'm tired and that fool question always makes me just darned tireder!"

She reached for a fat brown teapot and dumped in tea-leaves recklessly. "I'll be decenter directly I'm fed. I'm a beast just before tea--you won't find me half bad half an hour from now--"

We were both silent while the water boiled. She shoved her table nearer the fire, so near that I found myself looking down at the writing things that were arranged so primly at one end. There was an ink bottle on a gray blotter, a pewter tray for pens and a queer shaped lump of bronze, a paper weight I supposed. I wouldn't have been human if I could have kept my fingers off that bit of metal. I pretended to pick it up accidentally but I did it as guiltily as a child touches something forbidden. She didn't say a word, just watched me mischievously while she arranged the tea cups on the other end of the table. Presently she lighted a tiny temple lamp, melted a dab of sealing wax in its wavering blue flames--rose-colored wax it was--and it splashed out on the gray blotter like molten fire.

She took the bit of bronze from my fingers and pressed it firmly on the wax.

"It's a mouth--" I murmured. "It's lips--"

"It's her kiss," she answered me. "That's the most beautiful and the most difficult thing I ever made. It's Felicia Day's letter seal."

"Then she really is a real person--" I stammered fatuously.

"Did you ever find yourself in heaps of trouble? Too much trouble to stand? Did you? I was that way the day she opened my door. It made me perfectly furious to have her open my door. And she looked so little and so old and so frumpy--she'd been sewing all day for my beastly step-aunt and I'd been trying all day to get the courage to--to--" the girl's tears were streaming now and she didn't bother to wipe them away, she seemed utterly unashamed of them, "to get rid of myself. And just the minute I got the cork out of the bottle that little old angel opened the door. She was so darned different from anybody I'd ever seen in all my life and she talked so differently from anybody I'd ever listened to, I--well, I sort of forgot wanting to die because I was curious to find out where on earth she'd come from--or where on earth she was going to! She had a funny little dog under her arm; she gave it to me to hold. And the next thing I knew she was inviting me to go home with her. She thought I might like this room, she said. She told me it was filled 'with-an-abundance-of-weeds-we-have-not-any- names-for--' Wasn't that an absolute corker? That was her way of describing the Italian family with too many brats that were living here. She'd got that apology for 'em out of her great-great-grandma's garden book! Can you beat it? She talks about everybody as if they belonged in a garden. She called me--" the girl's lips quivered,--"a rosebush that had been pruned too much--roots cramped--she said-- anyway she picked me up to transplant me! Marched me into the 'orrible, messy, noisy, smelly hutch that this house used to be, up all those eighty 'leven stairs, and she kept her chin in the air as though it was a royal palace she was taking me into! She just kept saying,

"'Come! You'll love, love, love it! And you're going to be proud, proud, proud to live here--'

"I was proud, all right," the girl's voice choked. "I wouldn't have missed living here those next two months, not for all the marble that was ever quarried nor for all the glory that was Greece! That first night we both slept in this room--" she paused dramatically and threw open the door in the east wall to let me peer into the narrow hall room, "there--see--"

Ah! that bare little room! So tidy! With faded discolored wall paper and a scrubbed pine floor! With its battered iron bed! There's an old table by the one window with a child's silver mug and plate and spoon on it, each of them with a great bee carved upon it. That's all there is in that room save a low chair and a superb but shabby walnut bureau.

"She loved it so much that she wouldn't change it when she was building Octavia House over--"

"Octavia House!" I cried. "Why, that's that queer house where all the young geniuses live! The one that the Peter Alden money built--"

"She's not--?"

The Sculptor Girl answered my half-asked question almost ferociously.

"Do you mean Noralla? The one who did 'The Spirit of Romance'? Does he live here?"

She nodded impishly.

"And Thad, the cartoonist and Blythe Modder and--" she began reeling off a victorious list of young celebrities.

"And that one little dressmaker discovered you all?" I asked, quite awestricken, "How could she? What sort of a wonder was she? How can you explain it?"

The girl swung her lithe self up on the table, clasped her narrow hands about her knees and smiled benignly down upon me. She seemed naively content with herself, relaxed and quiet after her tempestuous storm of words.

"You can't explain it, you just accept it--just as you accept sunshine and rain--you can't explain any more than you can describe. And she's the sort of woman that all of us who dwell within this house will go on all the rest of our lives trying to describe and I'll bet that not all of us put together can tell more'n half that there is to tell about her. Why, her very faults are different than other people's faults! She has a pippin of a temper and such stub-stub-stubborn ways! Don't you think Thad's cartoons of 'Temperamental Therese' are peaches? Well, they are nothing but Felice in her illogical crotchety unfair minutes--Thad says the only way to explain such heavenly rudeness as Felicia's is to remember that she began being rude in 1817--"

"How old is she?" I fairly shouted, "Oh, please get down to earth and tell me something definite about her! You're perfectly maddening!"

The girl jumped lightly to the floor and slipped across the room to swing the casement in the north wall and let me peer down into Felicia's garden. If you'll look on the back of your envelope you can see just how it was, just how the walls shut off the rectory yard.

"She's exactly twenty-seven," she sighed, "the most perfect age to be! And if you were really going to tell her story you wouldn't have to go back all the way to 1817, you'd begin it about--well, let me see-- you'd begin it about 1897, I think, and right down there in that wee little garden. And of course you'd begin it with her whistling. And you'd ask anybody you were trying to tell about her whether they'd ever heard Mademoiselle Folly whistle--"

Did you? For if you have, I'm sure you've never forgotten the droll way that Mademoiselle Folly stepped out upon a stage in her quaint green frock and made her frightened curtsy. Can you recall her low contralto drawl and her inevitable,

Oh, I do so hope that you, too, are going "to be good at pretending"! That you can make yourself pretend that it's twenty years ago and that you're a nice invisible somebody standing down in a wee back yard of Felicia's. From the garden you can't see the river because the walls are too high. But now you're so close to them you see that they're crumbly brick walls almost covered with vines and that at prim intervals along their tops there are elaborate wrought-iron urns, each filled with a huge dusty century plant. And in the side wall toward the rectory yard of the church you can see an unused iron gate, its rusty lock and hinges matted through and through with ancient ivy. Pretend that it's moon-light and it's spring and that it's early evening in the year of our Lord 1897 and that over there by the gate is Felicia Day, about seven years old, peering through the gate into the rectory yard, laughing softly as she always laughs on choir practise nights. There was a certain bald dyspeptic choirmaster who was most irritable as he drilled his unruly boy choir and on warm evenings, when the oaken door under the heavy Gothic arches of the church was ajar, she could watch their garbed figures and wide opened mouths as they giggled over Gregorian chants under the swaying altar lights.

Once the tallest, naughtiest boy of all, the one with the cherubic "soprano" voice that was just threatening to break into piping uselessness, had climbed to the top of the wall and dropped his little black velvet cap at her feet.

"Get down from that wall!" the choirmaster had shouted.

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