Duffels Part 1

Duffels.

by Edward Eggleston.

PREFACE.

The once famous Mrs. Anne Grant--known in literature as Mrs. Grant of Laggan--spent part of her childhood in our New York Albany, then a town almost wholly given to traffic with the aborigines. To her we owe a description of the setting out of the young American-Dutch trader to ascend the Mohawk in a canoe, by laborious paddling and toilsome carrying round rifts and falls, in order to penetrate to the dangerous region of the tribes beyond the Six Nations. The outfit of this young "bushloper," as such a man was called in the still earlier Dutch period, consisted mainly of a sort of cloth suited to Indian wants. But there were added minor articles of use and fancy to please the youth or captivate the imagination of the women in the tribes. Combs, pocket mirrors, hatchets, knives, jew's-harps, pigments for painting the face blue, yellow, and vermilion, and other such things, were stored away in the canoe, to be spread out as temptations before the eyes of some group of savages rich in a winter's catch of furs. The cloths sold by the traders were called duffels, probably from the place of their origin, the town of Duffel, in the Low Countries. By degrees the word was, I suppose, transferred to the whole stock, and a trader's duffels included all the miscellany he carried with him. The romantic young bushloper, eager to acc.u.mulate money enough to marry the maiden he had selected, disappeared long ago from the water courses of northern New York. In his place an equally interesting figure--the Adirondack guide--navigates single-handed the rivers and lakes of the "North Woods." By one of those curious cases of transference that are often found in etymology, the guide still carries duffels, like his predecessor; but not for Indian trading. The word with him covers also an indefinite collection of objects of manifold use--camp utensils, guns, fis.h.i.+ng tackle, and whatnots. The basket that sits in his light boat to hold his smaller articles is called a duffel basket, as was the basket of sundries in the trader's canoe, I fancy. If his camp grows into a house frequented by sportsmen, there will be a duffel room to contain all manner of uncla.s.sified things.

Like the trader of old New York, I here open my kit of duffels. I have selected from the shorter tales written by me since I began to deal in the fancy wares of a writer of fiction only such as seem to have elements of permanent interest. I find their range to be wide. They cover many phases of human nature; they describe life in both the eighteenth and the nineteenth centuries; they are of the East and of the West, of the North, the Middle, and the South. Group or cla.s.sify them I can not; they are too various. Some were written long ago, in my younger manner, and in the tone prevailing among the story-writers of those days. Opinions and sentiments are inextricably interwoven with some of these earlier stories that do not seem to be mine to-day. But a man in his fifties ought to know how to be tolerant of the enthusiasms and beliefs of a younger man. I suspect that the sentiment I find somewhat foreign to me in the season of cooler pulses, and the situations and motives that seem rather nave now, had something to do with the acceptability of the stories. The popularity of these early tales in their day encouraged me to go on, and a little later to set up in more permanent and wholesale business as a novelist. To certain of these stories of my apprentices.h.i.+p I have appended dates to explain allusions in the text. Other stories there are here, that are of recent production, and by these I am willing to be judged. The variety in subject, manner, date, location, makes proper to them the t.i.tle I have chosen--a good word with a savor of human history and an odor of the New World about it; a word yet in living use in this region of lakes and mountains. I am not without hope that some of my duffels will please.

If formal dedications were not a little old-fas.h.i.+oned, I should give myself the pleasure of writing on one of these pages the name of my friend Mr. Richard Watson Gilder. I have read with delight and sincere admiration the poems that have given him fame, but they need no praise of mine. The occasion of my mentioning his name here is more personal--it was by his solicitation that I was seduced, nearly a quarter of a century ago, into writing my earliest love story. I may say, perhaps without pus.h.i.+ng the figure too far, that on his suggestion I first embarked in the light canoe of a dealer in duffels.

E. E.

JOSHUA'S ROCK, LAKE GEORGE, 1893.

DUFFELS.

SISTER TABEA.

Two weather-beaten stone buildings at Ephrata, in Pennsylvania, remain as monuments on this side of the water of the great pietistic movement in Germany in the early part of the eighteenth century. One of these was called Bethany, the other Sharon. A hundred and thirty or forty years ago there were other buildings with these, and the softening hand of time had not yet touched any of them. The doorways were then, as now, on the ground level, the pa.s.sages were just as narrow and dusky, the cells had the same little square windows to let in the day. But the stones in that day had a hue that reminded one of the quarry, the mortar between them was fresh, the s.h.i.+ngles in the roof had gathered no moss and very little weather stain; the primeval forests were yet within the horizon, and there was everywhere an air of newness, of advancement, and of prosperity about the Dunkard Convent. One sees now neither monks nor nuns in these narrow hallways; monks and nuns are nowhere about Ephrata, except in the graveyard where all the brethren of Bethany, and all the sisters who once peopled Sharon, sleep together in the mold. But in the middle of the eighteenth century their bare feet shuffled upon the stairs as, clad in white hooded cloaks descending to the very ground, they glided in and out of the low doors, or a.s.sembled in the little chapel called "Zion" to attend service under the lead of their founder, Conrad Beissels. In the convent, where he reigned supreme, Beissels was known as Brother Friedsam; later he was reverently called Father Friedsam Gottrecht, a name that, like all their convent names, had plenty of mystical significance attached to it.

But monks and nuns are men and women; and neither cloister life, nor capuchin hoods and cloaks, nor bare feet, nor protracted midnight services, can prevent heartburnings and rivalries, nor can all of these together put down--what is most to be dreaded in a monastery--the growth of affection between man and woman. What could be done to tame human nature into submission, to bring it to rejoice only in unearthly meditations, and a contented round of self-denial and psalm-singing, Brother Friedsam had tried on his followers with the unsparing hand of a religious enthusiast. He had forbidden all animal food. Not only was meat of evil tendency, but milk, he said, made the spirit heavy and narrow; b.u.t.ter and cheese produced similar disabilities; eggs excited the pa.s.sions; honey made the eyes bright and the heart cheerful, but did not clear the voice for music. So he approved chiefly of those plain things that sprang direct from the earth, particularly of potatoes, turnips, and other roots, with a little bread soup and such like ghostly diet. For drink he would have nothing but what he called "innocent clear water," just as it flowed from the spring.

But even a dish of potatoes and turnips and beets and carrots, eaten from wooden trenchers, without milk or b.u.t.ter or meat, was not sufficient to make the affections and pa.s.sions of men and women as ethereal as Friedsam wished. He wedded his people in mystic marriage to "the Chaste Lamb," to borrow his frequent phrase. They sang ecstatically of a mystical city of brotherly and sisterly affection which they, in common with other dreamers of the time, called Philadelphia, and they rejoiced in a divine creature called in their mystical jargon _Sophia_, which I suppose meant wisdom, wisdom divorced from common sense. These anchorites did not eschew social enjoyment, but held little love feasts. The sisters now invited the brethren, and next the brethren entertained the sisters--with unb.u.t.tered parsnips and draughts of innocent clear water, no doubt.

That which was most remarkable at Ephrata, and that out of which grows my story, was the music. Brother Friedsam, besides his cares of organization, finance, and administration, and his mystical theological speculations, was also a poet. Most of the songs sung in the little building called "Zion" were written by him--songs about "the lonesome turtledove in the wilderness," that is, the Church; songs in praise of the mystical marriage of virgins with the chaste Lamb; songs about the Philadelphian brotherhood of saints, about the divine Sophia, and about many other things which no man can understand, I am sure, until he has first purified himself from the gross humors of the flesh by a heavenly diet of turnips and spring water. To the brethren and sisters who believed their little community in the Pennsylvania woods to be "the Woman in the Wilderness" seen by St. John, these words represented the only substantial and valuable things in the wide universe; and they sang the songs of Conrad Beissels with as much fervor as they could have sung the songs of heaven itself. Beissels--the Friedsam of the brotherhood--was not only the poet but the composer of the choral songs, and a composer of rare merit. The music he wrote is preserved as it was copied out with great painstaking by the brethren and sisters.

In looking over the wonderful old ma.n.u.script notebook, the first impression is one of delight with the quaint symbolic illuminations wrought by the nuns of Ephrata upon the margins. But those who know music declare that the melodies are lovely, and that the whole structure of the harmonies is masterful, and worthy of the fame they had in the days when monks and nuns performed them under the lead of Brother Friedsam himself. In the gallery of Zion house, but concealed from the view of the brethren, sat the sisterhood, like a company of saints in spotless robes. Below, the brethren, likewise in white, answered to the choir above in antiphonal singing of the loveliest and most faultless sort. Strangers journeyed from afar over rough country roads to hear this wonderful chorus, and were moved in the depths of their souls with the indescribable sweetness and loftiness of the music, and with the charm and expressiveness of its rendering by these pale-faced other-worldly singers.

But their perfection of execution was attained at a cost almost too great. Brother Friedsam was a fanatic, and he was also an artist. He obliged the brethren and sisters to submit to the most rigorous training. In this, as in religion, he subordinated them to his ideals.

He would fain tune their very souls to his own key; and he exacted a precision that was difficult of attainment by men and women of average fallibility and carelessness. The men singers were divided into five choruses of five persons each; the sisters were cla.s.sified, according to the pitch of their voices, into three divisions, each of which sang or kept silent, according to the duty a.s.signed to it in the notebook.

At the love-feasts these choruses sat side by side at the table, so as to be ready to sing together with perfect precision whenever a song should be announced. At the singing school Brother Friedsam could not abide the least defect; he rated roundly the brother or sister who made any mistake; he scourged their lagging aspirations toward perfection.

If it is ever necessary to account for bad temper in musicians, one might suggest that the water-gruel diet had impaired his temper and theirs; certain it is that out of the production of so much heavenly harmony there sprang discord. The brethren and sisters grew daily more and more indignant at the severity of the director, whom they reverenced as a religious guide, but against whom, as a musical conductor, they rebelled in their hearts.

The sisters were the first to act in this crisis. At their knitting and their sewing they talked about it, in the kitchen they discussed it, until their hearts burned within them. Even in illuminating the notebook with pretty billing turtledoves, and emblematic flowers such as must have grown in paradise, since nothing of the sort was ever known in any earthly garden--even in painting these, some of the nuns came near to spoiling their colors and blurring their pages with tears.

Only Margaretha Thome, who was known in the convent as Sister Tabea, shed no tears. She worked with pen and brush, and heard the others talk; now and then, when some severe word of Brother Friedsam's was repeated, she would look up with a significant flash of the eye.

"The Hofcavalier doesn't talk," said Sister Thecla. This Thecla had given the nickname of "Hofcavalier" (_n.o.ble courtier_), to Tabea at her first arrival in the convent on account of her magnificent figure and high carriage.

"You shouldn't give nicknames, Sister Thecla."

The last speaker was a sister with an austere face and gray eyes which had no end of cold-blooded religious enthusiasm in them.

"I need not give you a nickname," retorted Thecla to the last speaker; "Brother Friedsam did that when he called you Jael. You are just the kind of person to drive a tent-nail through a man's head."

"If he were the enemy of the Church of G.o.d," said Jael, in a voice as hard as it was sincere.

Then the talk drifted back to the singing school and Brother Friedsam's severity.

"But why doesn't the Hofcavalier speak?" again persisted Thecla.

"When the Hofcavalier speaks, it will be to Brother Friedsam himself,"

answered Tabea.

The temerity of this proposition took Thecla's breath, but it set the storm a-going more vigorously than before among the sisterhood, who, having found somebody ready to bell the cat, grew eager to have the cat belled. Only Sister Jael, who for lack of voice was not included in either of the three choruses of the sisterhood, stoutly defended Brother Friedsam, thinking, perhaps, that it was not a bad thing to have the conceit of the singers reduced; indeed, she was especially pleased that Tabea, the unsurpa.s.sed singer of the sisters' gallery, should have suffered rebuke.

At length it was agreed that Tabea should tell Brother Friedsam that the sisters did not intend to go to singing school again.

Then Tabea lifted up her dark head and regarded the circle of women in white garments about her.

"You are all brave now, but when Brother Friedsam shakes his finger at you, you will every one of you submit as though you were a set of redemptioners bought with his money. When I tell Brother Friedsam that I shall not come to singing school, I shall stick to it. He may get his music performed by some one else. He will not call me a 'ninny' again."

"There spoke the Hofcavalier," giggled Thecla.

"Sister Tabea," said Jael, "if you go on as you are going, you will end by leaving the convent and breaking your vows. Mark my words."

"I am going to finish this turtledove first, though," said Tabea gayly.

It was finally agreed that if Tabea would speak to the director on behalf of the sisterhood, the sisters would resolutely stand by their threat, and that they would absent themselves from Brother Friedsam's music drills long enough to have him understand that they were not to be treated like children. To the surprise of all, Tabea left her work at once, covered up her head with the hood attached to her gown, and sought the lodge of Brother Friedsam, which stood between Bethany and Sharon.

When Tabea was admitted to the cell, and stood before the revered Friedsam, she felt an unexpected palpitation. Nor was Beissels any more composed. He could never speak to this girl without some mental disturbance.

"Brother Friedsam," she said, "I am sent by the sisters to say that they are very indignant at your treatment of them in the rehearsals, and that they are not going to attend them hereafter."

Beissels's sensitive lips quivered a moment; this sudden rebellion surprised him, and he did not at first see how to meet it.

"You suggested this course to them, I suppose?" he said after a pause.

"No, Brother Friedsam, I had nothing to do with it until now. But I think they are right, and I hope they will keep to their word. You have been altogether too hard on us."

The director made no reply, but wearily leaned his pale, refined face upon his hand and looked up at Tabea. This look of inquiry had something of unhappiness in it that touched the nun's heart, and she was half sorry that she had spoken so sharply. She fumbled for the wooden latch of the door presently, and went out with a sense of inward defeat and annoyance.

"The Hofcavalier does not come back with head in the air," murmured Thecla. "A bad sign."

"I gave the message," said Sister Tabea, "and Brother Friedsam did not say whether the four parts sung by the men would be sufficient or not.

But I know very well what he will do; he will coax you all back within a week."

"And you will leave the convent and break your vows; mark my words,"

said Sister Jael with sharpness.

"It will be after I get this page finished, I tell you," said Tabea.

But she did not seem in haste to finish the page, for, not choosing to show how much she had been discomposed by Brother Friedsam's wistful and inquiring look, she gathered up her brush, her colors, and the notebook page on which she had been at work, and went up the stairs alongside the great chimney, shutting herself in her cell.

Once there, the picture of Friedsam's face came vividly before her. She recalled her first meeting with him at her mother's house on the Wissahickon, and how her heart had gone out to the only man she had ever met whose character was out of the common. I do not say that she had consciously loved him as she listened to him, sitting there on the homemade stool in her mother's cabin and talking of things beyond comprehension. But she could have loved him, and she did wors.h.i.+p him.