The Collected Stories of Eudora Welty by Eudora Welty
School did not lessen Virgie's vitality; once on a rainy day when recess was held in the basement, she said she was going to butt her brains out against the wall, and the teacher, old Mrs. McGillicuddy, had said, "Beat them out, then," and she had really tried. The rest of the fourth grade stood around expectant and admiring, the smell of open thermos bottles sweetly heavy in the close air. Virgie came with strange kinds of sandwiches—everybody wanted to swap her—stewed peach, or perhaps banana. In the other children's eyes she was as exciting as a gypsy would be.
Virgie's air of abandon that was so strangely endearing made even the Sunday School class think of her in terms of the future—she would go somewhere, somewhere away off, they said then, talking with their chins sunk in their hands—she'd be a missionary. (Parnell Moody used to be wild and now she was pious.) Miss Lizzie Stark's mother, old Mrs. Sad-Talking Morgan, said Virgie would be the first lady governor of Mississippi, that was where she would go. It sounded worse than the infernal regions. To Cassie, Virgie was a secret love, as well as her secret hate. To Cassie she looked like an illustration by Reginald Birch for a serial in Etta Carmichael's St. Nicholas Magazine called "The Lucky Stone." Her inky hair fell in the same loose locks—because it was dirty. She often took the very pose of that inventive and persecuted little heroine who coped with people she thought were witches and ogres (alas! they were not)—feet apart, head aslant, eyes glancing up sideways, ears cocked; but you could not tell whether Virgie would boldly interrupt her enemies or run off to her own devices with a forgetful smile on her lips.
And she smelled of flavoring. She drank vanilla out of the bottle, she told them, and it didn't burn her a bit. She did that because she knew they called her mother Miss Ice Cream Rainey, for selling cones at speakings.
Für Elise was always Virgie Rainey's piece. For years Cassie thought Virgie wrote it, and Virgie never did deny it. It was a kind of signal that Virgie had burst in; she would strike that little opening phrase off the keys as she passed anybody's piano—even the one in the cafe. She never abandoned Für Elise; long after she went on to the hard pieces, she still played that.
Virgie Rainey was gifted. Everybody said that could not be denied. To show her it was not denied, she was allowed to play all through school for the other children to march in and to play for Wand Drill. Sometimes they drilled to "Dorothy, an Old English Dance," and sometimes to Für Elise—everybody out of kilter.
"I guess they scraped up the money for music lessons somehow," said Cassie's mother. Cassie, when she heard Virgie running her scales next door, would see a vision of the Rainey dining room—an interior which in life she had never seen, for she didn't go home from school with the Raineys—and sitting around the table Miss Katie Rainey and Old Man Fate Rainey and Berry and Bolivar Mayhew, some cousins, and Victor who was going to be killed in the war, and Virgie waiting; with Miss Katie scraping up nickels and pennies with an old bone-handled knife, patting them into shape like her butter, and each time—as the scale went up—just barely getting enough or—as it went down—not quite.
Cassie was Miss Eckhart's first pupil, the reason she "took" being that she lived right next door, but she never had any glory from it. When Virgie began "taking," she was the one who made things evident about Miss Eckhart, her lessons, and all. Miss Eckhart, for all her being so strict and inexorable, in spite of her walk, with no give whatsoever, had a timid spot in her soul. There was a little weak place in her, vulnerable, and Virgie Rainey found it and showed it to people.
Miss Eckhart worshiped her metronome. She kept it, like the most precious secret in the teaching of music, in a wall safe. Jinny Love Stark, who was only seven or eight years old but had her tongue, did suggest that this was the only thing Miss Eckhart owned of the correct size to lock up there. Why there had ever been a real safe built into the parlor nobody seemed to know; Cassie remembered Miss Snowdie saying the Lord knew, in His infinite workings and wisdom, and some day, somebody would come riding in to Morgana and have need of that safe, after she was gone.
Its door looked like a tin plate there in the wall, the closed-up end of an old flue. Miss Eckhart would go toward it with measured step. Technically the safe was hidden, of course, and only she knew it was there, since Miss Snowdie rented it; even Miss Eckhart's mother, possibly, had no expectations of getting in. Yes, her mother lived with her.
Cassie, out of nice feeling, looked the other way when it was time for the morning opening of the safe. It seemed awful, and yet imminent, that because she was the first pupil she, Cassie Morrison, might be the one to call logical attention to the absurdity of a safe in which there were no jewels, in which there was the very opposite of a jewel. Then Virgie, one day when the metronome was set going in front of her—Cassie was just leaving—announced simply that she would not play another note with that thing in her face.
At Virgie's words, Miss Eckhart quickly—it almost seemed that was what she'd wanted to hear—stopped the hand and slammed the little door, bang. The metronome was never set before Virgie again.
Of course all the rest of them still got it. It came out of the safe every morning, as regularly as the canary was uncovered in his cage. Miss Eckhart had made an exception of Virgie Rainey; she had first respected Virgie Rainey, and now fell humble before her impudence.
A metronome was an infernal machine, Cassie's mother said when Cassie told on Virgie. "Mercy, you have to keep moving, with that infernal machine. I want a song to dip."
"What do you mean, dip? Could you have played the piano, Mama?"
"Child, I could have sung" and she threw her hand from her, as though all music might as well now go jump off the bridge.
***
As time went on, Virgie Rainey showed her bad manners to Miss Eckhart still more, since she had won about the metronome. Once she had a little Rondo her way, and Miss Eckhart was so beset about it that the lesson was not like a real lesson at all. Once she unrolled the new Étude and when it kept rolling back up, as the Étude always did, she threw it on the floor and jumped on it, before Miss Eckhart had even seen it; that was heartless. After such showing off, Virgie would push her hair behind her ears and then softly lay her hands on the keys, as she would take up a doll.
Miss Eckhart would sit there blotting out her chair in the same way as ever, but inside her she was listening to every note. Such listening would have made Cassie forget. And half the time, the piece was only Für Elise, which Miss Eckhart could probably have played blindfolded and standing up with her back to the keys. Anybody could tell that Virgie was doing something to Miss Eckhart. She was turning her from a teacher into something lesser. And if she was not a teacher, what was Miss Eckhart?
At times she could not bring herself to swat a summer fly. And as little as Virgie, of them all, cared if her hand was rapped, Miss Eckhart would raise her swatter and try to bring it down and could not. You could see torment in her regard of the fly. The smooth clear music would move on like water, beautiful and undisturbed, under the hanging swatter and Miss Eckhart's red-rimmed thumb. But even boys hit Virgie, because she liked to fight.
There were times when Miss Eckhart's Yankeeness, if not her very origin, some last quality to fade, almost faded. Before some caprice of Virgie's, her spirit drooped its head. The child had it by the lead. Cassie saw Miss Eckhart's spirit as a terrifyingly gentle water-buffalo cow in the story of "Peasie and Beansie" in the reader. And sooner or later, after taming her teacher, Virgie was going to mistreat her. Most of them expected some great scene.
There was in the house itself, soon, a daily occurrence to distress Miss Eckhart. There was now a second roomer at Miss Snowdie's. While Miss Eckhart listened to a pupil, Mr. Voight would walk over their heads and come down to the turn of the stairs, open his bathrobe, and flap the skirts like an old turkey gobbler. They all knew Miss Snowdie never suspected she housed a man like that: he was a sewing machine salesman. When he flapped his maroon-colored bathrobe, he wore no clothes at all underneath.
It would be plain to
Miss Eckhart or to anybody that he wanted, first, the music lesson to stop. They could not close the door, there was no door, there were beads. They could not tell Miss Snowdie even that he objected; she would have been agonized. All the little girls and the one little boy were afraid of Mr. Voight's appearance at every lesson and felt nervous until it had happened and got over with. The one little boy was Scooter MacLain, the twin that took the free lessons; he kept mum.
Cassie saw that Miss Eckhart, who might once have been formidable in particular to any Mr. Voights, was helpless toward him and his antics—as helpless as Miss Snowdie MacLain would have been, helpless as Miss Snowdie was, toward her own little twin sons—all since she had begun giving in to Virgie Rainey. Virgie kept the upper hand over Miss Eckhart even at the moment when Mr. Voight came out to scare them. She only played on the stronger and clearer, and never pretended he had not come out and that she did not know it, or that she might not tell it, no matter how poor Miss Eckhart begged.
"Tell a soul what you have seen, I'll beat your hands until you scream," Miss Eckhart had said. Her round eyes opened wide, her mouth went small. This was all she knew to say. To Cassie it was as idle as a magic warning in a story; she criticized the rhyme. She herself had told all about Mr. Voight at breakfast, stood up at the table and waved her arms, only to have her father say he didn't believe it; that Mr. Voight represented a large concern and covered seven states. He added his own threat to Miss Eckhart's: no picture show money.
Her mother's laugh, which followed, was as usual soft and playful but not illuminating. Her laugh, like the morning light that came in the window each summer breakfast time around her father's long head, slowly made it its solid silhouette where he sat against the day. He turned to his paper like Douglas Fairbanks opening big gates; it was indeed his; he published the Morgana-MacLain Weekly Bugle and Mr. Voight had no place in it.
"Live and let live, Cassie," her mother said, meaning it mischievously. She showed no repentance, such as Cassie felt, for her inconsistencies. She had sometimes said passionately, "Oh, I hate that old MacLain house next door to me! I hate having it there all the time. I'm worn out with Miss Snowdie's cross!" Later on, when Miss Snowdie finally had to sell the house and move away, her mother said, "Well, I see Snowdie gave up." When she told bad news, she wore a perfectly blank face and her voice was helpless and automatic, as if she repeated a lesson.
Virgie told on Mr. Voight too, but she had nobody to believe her, and so Miss Eckhart did not lose any pupils by that. Virgie did not know how to tell anything.
And for what Mr. Voight did there were no ready words—what would you call it? "Call it spontaneous combustion," Cassie's mother said. Some performances of people stayed partly untold for lack of a name, Cassie believed, as well as for lack of believers. Mr. Voight before so very long—it happened during a sojourn home of Mr. MacLain, she remembered—was transferred to travel another seven states, ending the problem; and yet Mr. Voight had done something that amounted to more than going naked under his robe and calling alarm like a turkey gobbler, it was more belligerent; and the least describable thing of all had been a look on his face; that was strange. Thinking of it now, and here in her room, Cassie found she had bared her teeth and set them, trying out the frantic look. She could not now, any more than then, really describe Mr. Voight, but without thinking she could be Mr. Voight, which was more frightening still.
Like a dreamer dreaming with reservations, Cassie moved over and changed the color for her scarf and moved back to the window. She reached behind her for a square of heavenly-hash in its platter and bit down on the marshmallow.
There was another man Miss Eckhart had been scared of, up until the last. (Not Mr. King MacLain. They always passed without touching, like two stars, perhaps they had some kind of eclipse-effect on each other.) She had been sweet on Mr. Hal Sissum, who clerked in the shoe department of Spights' store.
Cassie remembered him—who didn't know Mr. Sissum and all the Sissums? His sandy hair, parted on the side, shook over his ear like a toboggan cap when he ambled forward, in his long lazy step, to wait on people. He teased people that came to buy shoes, as though that took the prize for the vainest, most outlandish idea that could ever come over human beings.
Miss Eckhart had pretty ankles for a heavy lady like herself. Mrs. Stark said what a surprise it was for Miss Eckhart, of all people, to turn up with such pretty ankles, which made it the same as if she didn't have them. When she came in she took her seat and put her foot earnestly up on Mr. Sissum's stool like any other lady in Morgana and he spoke to her very nicely. He generally invited the bigger ladies, like Miss Nell Loomis or Miss Gert Bowles, to sit in the children's chair, but he held back, with Miss Eckhart, and spoke very nicely to her about her feet and treated them as a real concern; he even brought out a choice of shoes. To most ladies he brought out one box and said, "There's your shoe," as though shoes were something predestined. He knew them all so well.
Miss Eckhart might have come over to his aisle more often, but she had an incomprehensible habit of buying shoes two or even four pairs at a time, to save going back, or to take precaution against never finding them again. She didn't know how to do about Mr. Sissum at all.
But what could they either one have done? They couldn't go to church together; the Sissums were Presbyterians from the beginning of time and Miss Eckhart belonged to some distant church with a previously unheard-of name, the Lutheran. She could not go to the picture show with Mr. Sissum because he was already at the picture show. He played the music there every evening after the store closed—he had to; this was before the Bijou afforded a piano, and he could play the cello. He could not have refused Mr. Syd Sissum, who bought the stable and built the Bijou.
Miss Eckhart used to come to the political speakings in the Starks' yard when Mr. Sissum played with the visiting band. Anybody could see him all evening then, high on the fresh plank platform behind his cello. Miss Eckhart, the true musician, sat on the damp night grass and listened. Nobody ever saw them really together any more than that. How did they know she was sweet on Mr. Sissum? But they did.
Mr. Sissum was drowned in the Big Black River one summer—fell out of his boat, all alone.
Cassie would rather remember the sweet soft speaking-nights in the Starks' yard. Before the speakings began, while the music was playing, Virgie and her older brother Victor ran wild all over everywhere, assaulting the crowd, where couples and threes and fives of people joined hands like paperdoll strings and wandered laughing and turning under the blossoming China trees and the heavy crape myrtles that were wound up in honeysuckle. How delicious it all smelled! Virgie let herself go completely, as anyone would like to do. Jinny Love Stark's swing was free to anybody and Virgie ran under the swingers, or jumped on behind, booting and pumping. She ran under sweethearts' twining arms, and nobody, even her brother, could catch her. She rolled the country people's watermelons away. She caught lightning bugs and tore out their lights for jewelry. She never rested as long as the music played except at last to throw herself hard and panting on the ground, her open mouth smiling against the trampled clover. Sometimes she made Victor climb up on the Starks' statue. Cassie remembered him, white face against dark leaves, a baseball cap turned backwards with the bill behind, and long black-stockinged legs wound over the snowy limbs of the goddess, and slowly, proudly sliding down.
But Virgie would not even watch him. She whirled in one direction till she fell down drunk, or turned about more slowly when they played Vienna Woods. She pushed Jinny Love Stark into her own lily bed. And all the time, she was eating. She ate all the ice cream she wanted. Now and then, in the soft parts of Carmen or before the storm in William Tell—even during dramatic pauses in the speaking—Mrs. Ice Cream Rainey's voice could be heard quickly calling, "Ice cream?" She had brought a freezer or two on Mr. Rainey's wagon to the foot of the yard. This time of year it might be fig. Sometimes Virgie whirled around with a fig ice cream cone in each hand, held poised like dagg
ers.
Virgie would run closer and closer circles around Miss Eckhart, who sat alone (her mother never came out that far) on a Bugle, all four pages unfolded on the grass, listening. Up above, Mr. Sissum—who bent over his cello in the Bijou every night like an old sewing woman over the machine, like a shoe clerk over another foot to fit—shone in a Palm Beach coat and played straight-backed in the visiting band, and as fast as they did. The lock of hair was no longer hiding his eyes and nose; like the candidate for supervisor, he looked out.
Virgie put a loop of clover chain down over Miss Eckhart's head, her hat—her one hat—and all. She hung Miss Eckhart with flowers, while Mr. Sissum plucked the strings up above her. Miss Eckhart sat on, perfectly still and submissive. She gave no sign. She let the clover chain come down and lie on her breast.
Virgie laughed delightedly and with her long chain in her hand ran around and around her, binding her up with clovers. Miss Eckhart let her head roll back, and then Cassie felt that the teacher was filled with terror, perhaps with pain. She found it so easy—ever since Virgie showed her—to feel terror and pain in an outsider; in someone you did not know at all well, pain made you wonderfully sorry. It was not so easy to be sorry about it in the people close to you—it came unwillingly; and how strange—in yourself, on nights like this, pain—even a moment's pain—seemed inconceivable.
Cassie's whole family would be at the speakings, of course, her father moving at large through the crowd or sometimes sitting on the platform with Mr. Carmichael and Mr. Comus Stark with the rolling head and Mr. Spights. Cassie would try to stay in sight of her mother, but no matter how slightly she strayed, only to follow Virgie around the backyard and find croquet balls in the grass, or down the hill to get a free cone, when she got back to their place her mother would be gone. She always lost her mother. She would find Loch there, rolled in a ball asleep in his sailor suit, his cheek holding down the ribbon of her softly removed hat. When she was back again, "I've just been through yonder to speak to my candidate," she said. "It's you that vanishes, Lady Bug, you that gets away."
Virgie's air of abandon that was so strangely endearing made even the Sunday School class think of her in terms of the future—she would go somewhere, somewhere away off, they said then, talking with their chins sunk in their hands—she'd be a missionary. (Parnell Moody used to be wild and now she was pious.) Miss Lizzie Stark's mother, old Mrs. Sad-Talking Morgan, said Virgie would be the first lady governor of Mississippi, that was where she would go. It sounded worse than the infernal regions. To Cassie, Virgie was a secret love, as well as her secret hate. To Cassie she looked like an illustration by Reginald Birch for a serial in Etta Carmichael's St. Nicholas Magazine called "The Lucky Stone." Her inky hair fell in the same loose locks—because it was dirty. She often took the very pose of that inventive and persecuted little heroine who coped with people she thought were witches and ogres (alas! they were not)—feet apart, head aslant, eyes glancing up sideways, ears cocked; but you could not tell whether Virgie would boldly interrupt her enemies or run off to her own devices with a forgetful smile on her lips.
And she smelled of flavoring. She drank vanilla out of the bottle, she told them, and it didn't burn her a bit. She did that because she knew they called her mother Miss Ice Cream Rainey, for selling cones at speakings.
Für Elise was always Virgie Rainey's piece. For years Cassie thought Virgie wrote it, and Virgie never did deny it. It was a kind of signal that Virgie had burst in; she would strike that little opening phrase off the keys as she passed anybody's piano—even the one in the cafe. She never abandoned Für Elise; long after she went on to the hard pieces, she still played that.
Virgie Rainey was gifted. Everybody said that could not be denied. To show her it was not denied, she was allowed to play all through school for the other children to march in and to play for Wand Drill. Sometimes they drilled to "Dorothy, an Old English Dance," and sometimes to Für Elise—everybody out of kilter.
"I guess they scraped up the money for music lessons somehow," said Cassie's mother. Cassie, when she heard Virgie running her scales next door, would see a vision of the Rainey dining room—an interior which in life she had never seen, for she didn't go home from school with the Raineys—and sitting around the table Miss Katie Rainey and Old Man Fate Rainey and Berry and Bolivar Mayhew, some cousins, and Victor who was going to be killed in the war, and Virgie waiting; with Miss Katie scraping up nickels and pennies with an old bone-handled knife, patting them into shape like her butter, and each time—as the scale went up—just barely getting enough or—as it went down—not quite.
Cassie was Miss Eckhart's first pupil, the reason she "took" being that she lived right next door, but she never had any glory from it. When Virgie began "taking," she was the one who made things evident about Miss Eckhart, her lessons, and all. Miss Eckhart, for all her being so strict and inexorable, in spite of her walk, with no give whatsoever, had a timid spot in her soul. There was a little weak place in her, vulnerable, and Virgie Rainey found it and showed it to people.
Miss Eckhart worshiped her metronome. She kept it, like the most precious secret in the teaching of music, in a wall safe. Jinny Love Stark, who was only seven or eight years old but had her tongue, did suggest that this was the only thing Miss Eckhart owned of the correct size to lock up there. Why there had ever been a real safe built into the parlor nobody seemed to know; Cassie remembered Miss Snowdie saying the Lord knew, in His infinite workings and wisdom, and some day, somebody would come riding in to Morgana and have need of that safe, after she was gone.
Its door looked like a tin plate there in the wall, the closed-up end of an old flue. Miss Eckhart would go toward it with measured step. Technically the safe was hidden, of course, and only she knew it was there, since Miss Snowdie rented it; even Miss Eckhart's mother, possibly, had no expectations of getting in. Yes, her mother lived with her.
Cassie, out of nice feeling, looked the other way when it was time for the morning opening of the safe. It seemed awful, and yet imminent, that because she was the first pupil she, Cassie Morrison, might be the one to call logical attention to the absurdity of a safe in which there were no jewels, in which there was the very opposite of a jewel. Then Virgie, one day when the metronome was set going in front of her—Cassie was just leaving—announced simply that she would not play another note with that thing in her face.
At Virgie's words, Miss Eckhart quickly—it almost seemed that was what she'd wanted to hear—stopped the hand and slammed the little door, bang. The metronome was never set before Virgie again.
Of course all the rest of them still got it. It came out of the safe every morning, as regularly as the canary was uncovered in his cage. Miss Eckhart had made an exception of Virgie Rainey; she had first respected Virgie Rainey, and now fell humble before her impudence.
A metronome was an infernal machine, Cassie's mother said when Cassie told on Virgie. "Mercy, you have to keep moving, with that infernal machine. I want a song to dip."
"What do you mean, dip? Could you have played the piano, Mama?"
"Child, I could have sung" and she threw her hand from her, as though all music might as well now go jump off the bridge.
***
As time went on, Virgie Rainey showed her bad manners to Miss Eckhart still more, since she had won about the metronome. Once she had a little Rondo her way, and Miss Eckhart was so beset about it that the lesson was not like a real lesson at all. Once she unrolled the new Étude and when it kept rolling back up, as the Étude always did, she threw it on the floor and jumped on it, before Miss Eckhart had even seen it; that was heartless. After such showing off, Virgie would push her hair behind her ears and then softly lay her hands on the keys, as she would take up a doll.
Miss Eckhart would sit there blotting out her chair in the same way as ever, but inside her she was listening to every note. Such listening would have made Cassie forget. And half the time, the piece was only Für Elise, which Miss Eckhart could probably have played blindfolded and standing up with her back to the keys. Anybody could tell that Virgie was doing something to Miss Eckhart. She was turning her from a teacher into something lesser. And if she was not a teacher, what was Miss Eckhart?
At times she could not bring herself to swat a summer fly. And as little as Virgie, of them all, cared if her hand was rapped, Miss Eckhart would raise her swatter and try to bring it down and could not. You could see torment in her regard of the fly. The smooth clear music would move on like water, beautiful and undisturbed, under the hanging swatter and Miss Eckhart's red-rimmed thumb. But even boys hit Virgie, because she liked to fight.
There were times when Miss Eckhart's Yankeeness, if not her very origin, some last quality to fade, almost faded. Before some caprice of Virgie's, her spirit drooped its head. The child had it by the lead. Cassie saw Miss Eckhart's spirit as a terrifyingly gentle water-buffalo cow in the story of "Peasie and Beansie" in the reader. And sooner or later, after taming her teacher, Virgie was going to mistreat her. Most of them expected some great scene.
There was in the house itself, soon, a daily occurrence to distress Miss Eckhart. There was now a second roomer at Miss Snowdie's. While Miss Eckhart listened to a pupil, Mr. Voight would walk over their heads and come down to the turn of the stairs, open his bathrobe, and flap the skirts like an old turkey gobbler. They all knew Miss Snowdie never suspected she housed a man like that: he was a sewing machine salesman. When he flapped his maroon-colored bathrobe, he wore no clothes at all underneath.
It would be plain to
Cassie saw that Miss Eckhart, who might once have been formidable in particular to any Mr. Voights, was helpless toward him and his antics—as helpless as Miss Snowdie MacLain would have been, helpless as Miss Snowdie was, toward her own little twin sons—all since she had begun giving in to Virgie Rainey. Virgie kept the upper hand over Miss Eckhart even at the moment when Mr. Voight came out to scare them. She only played on the stronger and clearer, and never pretended he had not come out and that she did not know it, or that she might not tell it, no matter how poor Miss Eckhart begged.
"Tell a soul what you have seen, I'll beat your hands until you scream," Miss Eckhart had said. Her round eyes opened wide, her mouth went small. This was all she knew to say. To Cassie it was as idle as a magic warning in a story; she criticized the rhyme. She herself had told all about Mr. Voight at breakfast, stood up at the table and waved her arms, only to have her father say he didn't believe it; that Mr. Voight represented a large concern and covered seven states. He added his own threat to Miss Eckhart's: no picture show money.
Her mother's laugh, which followed, was as usual soft and playful but not illuminating. Her laugh, like the morning light that came in the window each summer breakfast time around her father's long head, slowly made it its solid silhouette where he sat against the day. He turned to his paper like Douglas Fairbanks opening big gates; it was indeed his; he published the Morgana-MacLain Weekly Bugle and Mr. Voight had no place in it.
"Live and let live, Cassie," her mother said, meaning it mischievously. She showed no repentance, such as Cassie felt, for her inconsistencies. She had sometimes said passionately, "Oh, I hate that old MacLain house next door to me! I hate having it there all the time. I'm worn out with Miss Snowdie's cross!" Later on, when Miss Snowdie finally had to sell the house and move away, her mother said, "Well, I see Snowdie gave up." When she told bad news, she wore a perfectly blank face and her voice was helpless and automatic, as if she repeated a lesson.
Virgie told on Mr. Voight too, but she had nobody to believe her, and so Miss Eckhart did not lose any pupils by that. Virgie did not know how to tell anything.
And for what Mr. Voight did there were no ready words—what would you call it? "Call it spontaneous combustion," Cassie's mother said. Some performances of people stayed partly untold for lack of a name, Cassie believed, as well as for lack of believers. Mr. Voight before so very long—it happened during a sojourn home of Mr. MacLain, she remembered—was transferred to travel another seven states, ending the problem; and yet Mr. Voight had done something that amounted to more than going naked under his robe and calling alarm like a turkey gobbler, it was more belligerent; and the least describable thing of all had been a look on his face; that was strange. Thinking of it now, and here in her room, Cassie found she had bared her teeth and set them, trying out the frantic look. She could not now, any more than then, really describe Mr. Voight, but without thinking she could be Mr. Voight, which was more frightening still.
Like a dreamer dreaming with reservations, Cassie moved over and changed the color for her scarf and moved back to the window. She reached behind her for a square of heavenly-hash in its platter and bit down on the marshmallow.
There was another man Miss Eckhart had been scared of, up until the last. (Not Mr. King MacLain. They always passed without touching, like two stars, perhaps they had some kind of eclipse-effect on each other.) She had been sweet on Mr. Hal Sissum, who clerked in the shoe department of Spights' store.
Cassie remembered him—who didn't know Mr. Sissum and all the Sissums? His sandy hair, parted on the side, shook over his ear like a toboggan cap when he ambled forward, in his long lazy step, to wait on people. He teased people that came to buy shoes, as though that took the prize for the vainest, most outlandish idea that could ever come over human beings.
Miss Eckhart had pretty ankles for a heavy lady like herself. Mrs. Stark said what a surprise it was for Miss Eckhart, of all people, to turn up with such pretty ankles, which made it the same as if she didn't have them. When she came in she took her seat and put her foot earnestly up on Mr. Sissum's stool like any other lady in Morgana and he spoke to her very nicely. He generally invited the bigger ladies, like Miss Nell Loomis or Miss Gert Bowles, to sit in the children's chair, but he held back, with Miss Eckhart, and spoke very nicely to her about her feet and treated them as a real concern; he even brought out a choice of shoes. To most ladies he brought out one box and said, "There's your shoe," as though shoes were something predestined. He knew them all so well.
Miss Eckhart might have come over to his aisle more often, but she had an incomprehensible habit of buying shoes two or even four pairs at a time, to save going back, or to take precaution against never finding them again. She didn't know how to do about Mr. Sissum at all.
But what could they either one have done? They couldn't go to church together; the Sissums were Presbyterians from the beginning of time and Miss Eckhart belonged to some distant church with a previously unheard-of name, the Lutheran. She could not go to the picture show with Mr. Sissum because he was already at the picture show. He played the music there every evening after the store closed—he had to; this was before the Bijou afforded a piano, and he could play the cello. He could not have refused Mr. Syd Sissum, who bought the stable and built the Bijou.
Miss Eckhart used to come to the political speakings in the Starks' yard when Mr. Sissum played with the visiting band. Anybody could see him all evening then, high on the fresh plank platform behind his cello. Miss Eckhart, the true musician, sat on the damp night grass and listened. Nobody ever saw them really together any more than that. How did they know she was sweet on Mr. Sissum? But they did.
Mr. Sissum was drowned in the Big Black River one summer—fell out of his boat, all alone.
Cassie would rather remember the sweet soft speaking-nights in the Starks' yard. Before the speakings began, while the music was playing, Virgie and her older brother Victor ran wild all over everywhere, assaulting the crowd, where couples and threes and fives of people joined hands like paperdoll strings and wandered laughing and turning under the blossoming China trees and the heavy crape myrtles that were wound up in honeysuckle. How delicious it all smelled! Virgie let herself go completely, as anyone would like to do. Jinny Love Stark's swing was free to anybody and Virgie ran under the swingers, or jumped on behind, booting and pumping. She ran under sweethearts' twining arms, and nobody, even her brother, could catch her. She rolled the country people's watermelons away. She caught lightning bugs and tore out their lights for jewelry. She never rested as long as the music played except at last to throw herself hard and panting on the ground, her open mouth smiling against the trampled clover. Sometimes she made Victor climb up on the Starks' statue. Cassie remembered him, white face against dark leaves, a baseball cap turned backwards with the bill behind, and long black-stockinged legs wound over the snowy limbs of the goddess, and slowly, proudly sliding down.
But Virgie would not even watch him. She whirled in one direction till she fell down drunk, or turned about more slowly when they played Vienna Woods. She pushed Jinny Love Stark into her own lily bed. And all the time, she was eating. She ate all the ice cream she wanted. Now and then, in the soft parts of Carmen or before the storm in William Tell—even during dramatic pauses in the speaking—Mrs. Ice Cream Rainey's voice could be heard quickly calling, "Ice cream?" She had brought a freezer or two on Mr. Rainey's wagon to the foot of the yard. This time of year it might be fig. Sometimes Virgie whirled around with a fig ice cream cone in each hand, held poised like dagg
Virgie would run closer and closer circles around Miss Eckhart, who sat alone (her mother never came out that far) on a Bugle, all four pages unfolded on the grass, listening. Up above, Mr. Sissum—who bent over his cello in the Bijou every night like an old sewing woman over the machine, like a shoe clerk over another foot to fit—shone in a Palm Beach coat and played straight-backed in the visiting band, and as fast as they did. The lock of hair was no longer hiding his eyes and nose; like the candidate for supervisor, he looked out.
Virgie put a loop of clover chain down over Miss Eckhart's head, her hat—her one hat—and all. She hung Miss Eckhart with flowers, while Mr. Sissum plucked the strings up above her. Miss Eckhart sat on, perfectly still and submissive. She gave no sign. She let the clover chain come down and lie on her breast.
Virgie laughed delightedly and with her long chain in her hand ran around and around her, binding her up with clovers. Miss Eckhart let her head roll back, and then Cassie felt that the teacher was filled with terror, perhaps with pain. She found it so easy—ever since Virgie showed her—to feel terror and pain in an outsider; in someone you did not know at all well, pain made you wonderfully sorry. It was not so easy to be sorry about it in the people close to you—it came unwillingly; and how strange—in yourself, on nights like this, pain—even a moment's pain—seemed inconceivable.
Cassie's whole family would be at the speakings, of course, her father moving at large through the crowd or sometimes sitting on the platform with Mr. Carmichael and Mr. Comus Stark with the rolling head and Mr. Spights. Cassie would try to stay in sight of her mother, but no matter how slightly she strayed, only to follow Virgie around the backyard and find croquet balls in the grass, or down the hill to get a free cone, when she got back to their place her mother would be gone. She always lost her mother. She would find Loch there, rolled in a ball asleep in his sailor suit, his cheek holding down the ribbon of her softly removed hat. When she was back again, "I've just been through yonder to speak to my candidate," she said. "It's you that vanishes, Lady Bug, you that gets away."