I have engaged a companion for the winter. It would be simply a superfluous egotism to say this to the public, except that I have a philanthropic motive for doing so. There are many lonely people who are in need of a companion possessing just such qualities as his; and he has brothers singularly like himself, whose services can be secured. I despair of doing justice to him by any description. In fact, thus far, I discover new perfections in him daily, and believe that I am yet only on the threshold of our friendship.

In conversation he is more suggestive than any person I have ever known.

After two or three hours alone with him, I am sometimes almost startled to look back and see through what a marvellous train of fancy and reflection he has led me. Yet he is never wordy, and often conveys his subtlest meaning by a look.

He is an artist, too, of the rarest sort. You watch the process under which his pictures grow with incredulous wonder. The Eastern magic which drops the seed in the mould, and bids it shoot up before your eyes, blossom, and bear its fruit in an hour, is tardy and clumsy by side of the creative genius of my companion. His touch is swift as air; his coloring is vivid as light; he has learned, I know not how, the secrets of hidden places in all lands; and he paints, now a tufted clump of soft cocoa palms; now the spires and walls of an iceberg, glittering in yellow sunlight; now a desolate, sandy waste, where black rocks and a few crumbling ruins are lit up by a lurid glow; then a cathedral front, with carvings like lace; then the skeleton of a wrecked ship, with bare ribs and broken masts,--and all so exact, so minute, so life-like, that you believe no man could paint thus any thing which he had not seen.

He has a special love for mosaics, and a marvellous faculty for making drawings of curious old patterns. Nothing is too complicated for his memory, and he revels in the most fantastic and intricate shapes. I have known him in a single evening throw off a score of designs, all beautiful, and many of them rare: fiery scorpions on a black ground; pale lavender filagrees over scarlet; white and black squares blocked out as for tiles of a pavement, and crimson and yellow threads interlaced over them; odd Chinese patterns in brilliant colors, all angles and surprises, with no likeness to any thing in nature; and exquisite little bits of landscape in soft grays and whites. Last night was one of his nights of reminiscences of the mosaic-workers. A furious snow-storm was raging, and, as the flaky crystals piled up in drifts on the window-ledges, he seemed to catch the inspiration of their law of structure, and drew sheet after sheet of crystalline shapes; some so delicate and filmy that it seemed as if a jar might obliterate them; some ma.s.sive and strong, like those in which the earth keeps her mineral treasures; then, at last, on a round charcoal disk, he traced out a perfect rose, in a fragrant white powder, which piled up under his fingers, petal after petal, circle after circle, till the feathery stamens were buried out of sight. Then, as we held our breath for fear of disturbing it, with a good-natured little chuckle, he shook it off into the fire, and by a few quick strokes of red turned the black charcoal disk into a shield gay enough for a tournament.

He has talent for modelling, but this he exercises more rarely. Usually, his figures are grotesque rather than beautiful, and he never allows them to remain longer than for a few moments, often changing them so rapidly under your eye that it seems like jugglery. He is fondest of doing this at twilight, and loves the darkest corner of the room. From the half-light he will suddenly thrust out before you a grinning gargoyle head, to which he will give in an instant more a pair of spider legs, and then, with one roll, stretch it out into a crocodile, whose jaws seem so near snapping that you involuntarily draw your chair further back. Next, in a freak of ventriloquism, he startles you still more by bringing from the crocodile's mouth a sigh, so long drawn, so human, that you really shudder, and are ready to implore him to play no more tricks. He knows when he has reached this limit, and soothes you at once by a tender, far-off whisper, like the wind through pines, sometimes almost like an Aeolian harp; then he rouses you from your dreams by what you are sure is a tap at the door. You turn, speak, listen; no one enters; the tap again. Ah! it is only a little more of the ventriloquism of this wonderful creature. You are alone with him, and there was no tap at the door.

But when there is, and the friend comes in, then my companion's genius shines out. Almost always in life the third person is a discord, or at least a burden; but he is so genial, so diffusive, so sympathetic, that, like some tints by which painters know how to bring out all the other colors in a picture, he forces every one to do his best. I am indebted to him already for a better knowledge of some men and women with whom I had talked for years before to little purpose. It is most wonderful that he produces this effect, because he himself is so silent; but there is some secret charm in his very smile which puts people _en rapport_ with each other, and with him at once.

I am almost afraid to go on with the list of the things my companion can do. I have not yet told the half, nor the most wonderful; and I believe I have already overtaxed credulity. I will mention only one more,--but that is to me far more inexplicable than all the rest. I am sure that it belongs, with mesmerism and clairvoyance, to the domain of the higher psychological mysteries. He has in rare hours the power of producing the portraits of persons whom you have loved, but whom he has never seen. For this it is necessary that you should concentrate your whole attention on him, as is always needful to secure the best results of mesmeric power. It must also be late and still. In the day, or in a storm, I have never known him to succeed in this. For these portraits he uses only shadowy gray tints. He begins with a hesitating outline. If you are not tenderly and closely in attention, he throws it aside; he can do nothing. But if you are with him, heart and soul, and do not take your eyes from his, he will presently fill out the dear faces, full, life-like, and wearing a smile, which makes you sure that they too must have been summoned from the other side, as you from this, to meet on the shadowy boundary between flesh and spirit. He must see them as clearly as he sees you; and it would be little more for his magic to do if he were at the same moment showing to their longing eyes your face and answering smile.

But I delay too long the telling of his name. A strange hesitancy seizes me. I shall never be believed by any one who has not sat as I have by his side. But, if I can only give to one soul the good-cheer and strength of such a presence, I shall be rewarded.

His name is Maple Wood-fire, and his terms are from eight to twelve dollars a month, according to the amount of time he gives. This price is ridiculously low, but it is all that any member of the family asks; in fact, in some parts of the country, they can be hired for much less. They have connections by the name of Hickory, whose terms are higher; but I cannot find out that they are any more satisfactory. There are also some distant relations, named Chestnut and Pine, who can be employed in the same way, at a much lower rate; but they are all snappish and uncertain in temper.

To the whole world I commend the good brotherhood of Maple, and pa.s.s on the emphatic indors.e.m.e.nt of a blessed old black woman who came to my room the other day, and, standing before the rollicking blaze on my hearth, said, "Bless yer, honey, yer's got a wood-fire. I'se allers said that, if yer's got a wood-fire, yer's got meat, an' drink, an' clo'es."

Choice of Colors.

The other day, as I was walking on one of the oldest and most picturesque streets of the old and picturesque town of Newport, R.I., I saw a little girl standing before the window of a milliner's shop.

It was a very rainy day. The pavement of the side-walks on this street is so sunken and irregular that in wet weather, unless one walks with very great care, he steps continually into small wells of water. Up to her ankles in one of these wells stood the little girl, apparently as unconscious as if she were high and dry before a fire. It was a very cold day too. I was hurrying along, wrapped in furs, and not quite warm enough even so. The child was but thinly clothed. She wore an old plaid shawl and a ragged knit hood of scarlet worsted. One little red ear stood out unprotected by the hood, and drops of water trickled down over it from her hair. She seemed to be pointing with her finger at articles in the window, and talking to some one inside. I watched her for several moments, and then crossed the street to see what it all meant. I stole noiselessly up behind her, and she did not hear me. The window was full of artificial flowers, of the cheapest sort, but of very gay colors. Here and there a knot of ribbon or a bit of lace had been tastefully added, and the whole effect was really remarkably gay and pretty. Tap, tap, tap, went the small hand against the window-pane; and with every tap the unconscious little creature murmured, in a half-whispering, half-singing voice, "I choose _that_ color." "I choose _that_ color." "I choose _that_ color."

I stood motionless. I could not see her face; but there was in her whole att.i.tude and tone the heartiest content and delight. I moved a little to the right, hoping to see her face, without her seeing me; but the slight movement caught her ear, and in a second she had sprung aside and turned toward me. The spell was broken. She was no longer the queen of an air-castle, decking herself in all the rainbow hues which pleased her eye.

She was a poor beggar child, out in the rain, and a little frightened at the approach of a stranger. She did not move away, however; but stood eying me irresolutely, with that pathetic mixture of interrogation and defiance in her face which is so often seen in the prematurely developed faces of poverty-stricken children.

"Aren't the colors pretty?" I said. She brightened instantly.

"Yes'm. I'd like a goon av thit blue."

"But you will take cold standing in the wet," said I. "Won't you come under my umbrella?"

She looked down at her wet dress suddenly, as if it had not occurred to her before that it was raining. Then she drew first one little foot and then the other out of the muddy puddle in which she had been standing, and, moving a little closer to the window, said, "I'm not jist goin' home, mem. I'd like to stop here a bit."

So I left her. But, after I had gone a few blocks, the impulse seized me to return by a cross street, and see if she were still there. Tears sprang to my eyes as I first caught sight of the upright little figure, standing in the same spot, still pointing with the rhythmic finger to the blues and reds and yellows, and half chanting under her breath, as before, "I choose _that_ color." "I choose _that_ color." "I choose _that_ color."

I went quietly on my way, without disturbing her again. But I said in my heart, "Little Messenger, Interpreter, Teacher! I will remember you all my life."

Why should days ever be dark, life ever be colorless? There is always sun; there are always blue and scarlet and yellow and purple. We cannot reach them, perhaps, but we can see them, if it is only "through a gla.s.s," and "darkly,"--still we can see them. We can "choose" our colors. It rains, perhaps; and we are standing in the cold. Never mind. If we look earnestly enough at the brightness which is on the other side of the gla.s.s, we shall forget the wet and not feel the cold. And now and then a pa.s.ser-by, who has rolled himself up in furs to keep out the cold, but shivers nevertheless,--who has money in his purse to buy many colors, if he likes, but, nevertheless, goes grumbling because some colors are too dear for him,--such a pa.s.ser-by, chancing to hear our voice, and see the atmosphere of our content, may learn a wondrous secret,--that pennilessness is not poverty, and ownership is not possession; that to be without is not always to lack, and to reach is not to attain; that sunlight is for all eyes that look up, and color for those who "choose."

The Apostle of Beauty.

He is not of the twelve, any more than the golden rule is of the ten. "A greater commandment I give unto you," was said of that. Also it was called the "new commandment." Yet it was really older than the rest, and greater only because it included them all. There were those who kept it ages before Moses went up Sinai: Joseph, for instance, his ancestor; and the king's daughter, by whose goodness he lived. So stands the Apostle of Beauty, greater than the twelve, newer and older; setting Gospel over against law, having known law before its beginning; living triumphantly free and unconscious of penalty.

He has had martyrdom, and will have. His church is never established; the world does not follow him; only of Wisdom is he known, and of her children, who are children of light. He never speaks by their mouths who say "Shalt not." He knows that "shalt not" is illegitimate, puny, trying always to usurp the throne of the true king, "Thou shalt."

"This is delight," "this is good to see," he says of a purity, of a fair thing. It needs not to speak of the impurity, of the ugliness. Left unmentioned, unforbidden, who knows how soon they might die out of men's lives, perhaps even from the earth's surface? Men hedging gardens have for centuries set plants under that "letter of law" which "killeth," until the very word hedge has become a pain and an offence; and all the while there have been standing in every wild country graceful walls of unhindered brier and berry, to which the apostles of beauty have been silently pointing. By degrees gardeners have learned something. The best of them now call themselves "landscape gardeners;" and that is a concession, if it means, as I suppose it does, that they will try to copy Nature's landscapes in their enclosures. I have seen also of late that on rich men's estates tangled growths of native bushes are being more let alone, and hedges seem to have had some of the weights and harness taken off of them.

This is but one little matter among millions with which the Apostle of Beauty has to do; but it serves for instance of the first requisite he demands, which is freedom. "Let use take care of itself." "It will," he says. "There is no beauty without freedom."

Nothing is too high for him, nothing too low or small. To speak more truly, in his eyes there is no small, no low. From a philanthropy down to a gown, one catholic necessity, one catholic principle; gowns can be benefactions or injuries; philanthropies can be well or ill clad.

He has a ministry of co-workers,--men, women, and guileless little children. Many of them serve him without knowing him by name. Some who serve him best, who spread his creeds most widely, who teach them most eloquently, die without dreaming that they have been missionaries to Gentiles. Others there are who call him "Lord, Lord," build temples to him and teach in them, who never know him. These are they who give their goods to the poor, their bodies to be burned; but are each day ungracious, unloving, hard, cruel to men and women about them. These are they also who make bad statues, bad pictures, invent frightful fashions of things to be worn, and make the houses and the rooms in which they live hideous with unsightly adornments. The centuries fight such,--now with a t.i.tian, a Michel Angelo; now with a great philanthropist, who is also peaceable and easy to be entreated; now with a Florence Nightingale, knowing no sect; now with a little child by a roadside, holding up a marigold in the sun; now with a sweet-faced old woman, dying gracefully in some almshouse. Who has not heard voice from such apostles?

To-day my nearest, most eloquent apostle of beauty is a poor shoemaker, who lives in the house where I lodge. How poor he must be I dare not even try to understand. He has six children: the oldest not more than thirteen, the third a deaf-mute, the baby puny and ill,--sure, I think (and hope), to die soon.

They live in two rooms, on the ground-floor. His shop is the right-hand corner of the front room; the rest is bedroom and sitting-room; behind are the bedroom and kitchen. I have never seen so much as I might of their way of living; for I stand before his window with more reverent fear of intruding by a look than I should have at the door of a king's chamber. A narrow rough ledge added to the window-sill is his bench. Behind this he sits from six in the morning till seven at night, bent over, sewing slowly and painfully on the coa.r.s.est shoes. His face looks old enough for sixty years; but he cannot be so old. Yet he wears gla.s.ses and walks feebly; he has probably never had in any one day of his life enough to eat. But I do not know any man, and I know only one woman, who has such a look of radiant good-cheer and content as has this poor shoemaker, Anton Grasl.

In his window are coa.r.s.e wooden boxes, in which are growing the common mallows. They are just now in full bloom,--row upon row of gay-striped purple and white bells. The window looks to the east, and is never shut.

When I go out to my breakfast the sun is streaming in on the flowers and Anton's face. He looks up, smiles, bows low, and says, "Good-day, good my lady," sometimes holding the mallow-stalks back with one hand, to see me more plainly. I feel as if the day and I had had benediction. It is always a better day because Anton has said it is good; and I am a better woman for sight of his G.o.dly contentment. Almost every day he has beside the mallows in the boxes a white mug with flowers in it,--nasturtiums, perhaps, or a few pinks. This he sets carefully in shade of the thickest mallows; and this I have often seen him hold down tenderly, for the little ones to see and to smell.

When I come home in the evenings, between eight and nine o'clock, Anton is always sifting in front of the door, resting his head against the wall.

This is his recreation, his one blessed hour of out-door air and rest. He stands with his cap in his hand while I pa.s.s, and his face shines as if all the concentrated enjoyment of my walk in the woods had descended upon him in my first look. If I give him a bunch of ferns to add to his nasturtiums and pinks, he is so grateful and delighted that I have to go into the house quickly for fear I shall cry. Whenever I am coming back from a drive, I begin to think, long before I reach the house, how glad Anton will look when he sees the carriage stop. I am as sure as if I had omniscient sight into the depths of his good heart that he has distinct and unenvious joy in every pleasure that he sees other people taking.

Never have I, heard one angry or hasty word, one petulant or weary cry from the rooms in which this father and mother and six children are struggling to live. All day long the barefooted and ragged little ones play under my south windows, and do not quarrel. I amuse myself by dropping grapes or plums on their heads, and then watching them at their feast; never have I seen them dispute or struggle in the division. Once I purposely threw a large bunch of grapes to the poor little mute, and only a few plums to the others. I am sorry to say that voiceless Carl ate all his grapes himself; but not a selfish or discontented look could I see on the faces of the others,--they all smiled and beamed up at me like suns.

It is Anton who creates and sustains this rare atmosphere. The wife is only a common and stupid woman; he is educating her, as he is the children. She is very thin and worn and hungry-looking, but always smiles.

Being Anton's wife, she could not do otherwise.

Sometimes I see people pa.s.sing the house, who give a careless glance of contemptuous pity at Anton's window of mallows and nasturtiums. Then I remember that an apostle wrote:--

"There are, it may be, so many kinds of voices in the world, and none of them is without signification.

"Therefore, if I know not the meaning of the voice, I shall be unto him that speaketh a barbarian, and he that speaketh shall be a barbarian unto me."

And I long to call after them, as they go groping their way down the beautiful street,--

"Oh, ye barbarians, blind and deaf! How dare you think you can pity Anton?

His soul would melt in compa.s.sion for you, if he were able to comprehend that lives could be so poor as yours. He is the rich man, and you are poor. Eating only the husks on which you feed, he would starve to death."