LITMIR.BIZ

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boys and girls; in fact, with the exception of "Shiny," they had occupied very little of my thought; but I do know that when the blow fell, I had a very strong aversion to being classed with them. So I became something of a solitary. "Red" and I remained inseparable, and there was between "Shiny" and me a sort of sympathetic bond, but my intercourse with the others was never entirely free from a feeling of constraint. I must add, however, that this feeling was confined almost entirely to my intercourse with boys and girls of about my own age; I did not experience it with my seniors. And when I grew to manhood, I found myself freer with elderly white people than with those near my own age.

      I was now about eleven years old, but these emotions and impressions which I have just described could not have been stronger or more distinct at an older age. There were two immediate results of my forced loneliness: I began to find company in books, and greater pleasure in music. I made the former discovery through a big, gilt-bound, illustrated copy of the Bible, which used to lie in splendid neglect on the center table in our little parlor. On top of the Bible lay a photograph album. I had often looked at the pictures in the album, and one day, after taking the larger book down and opening it on the floor, I was overjoyed to find that it contained what seemed to be an inexhaustible supply of pictures. I looked at these pictures many times; in fact, so often that I knew the story of each one without having to read the subject, and then, somehow, I picked up the thread of history on which are strung the trials and tribulations of the Hebrew children; this I followed with feverish interest and excitement. For a long time King David, with Samson a close second, stood at the head of my list of heroes; he was not displaced until I came to know Robert the Bruce. I read a good portion of the Old Testament, all that part treating of wars and rumors of wars, and then started in on the New. I became interested in the life of Christ, but became impatient and disappointed when I found that, notwithstanding the great power he possessed, he did not make use of it when, in my judgment, he most needed to do so. And so my first general impression of the Bible was what my later impression has been of a number of modern books, that the authors put their best work in the first part, and grew either exhausted or careless toward the end.

      After reading the Bible, or those parts which held my attention, I began to explore the glass-doored bookcase which I have already mentioned. I found there Pilgrim's Progress, Peter Parley's History of the United States, Grimm's Household Stories, Tales of a Grandfather, a bound volume of an old English publication (I think it was called The Mirror), a little volume called Familiar Science, and somebody's Natural Theology, which last, of course, I could not read, but which, nevertheless, I tackled, with the result of gaining a permanent dislike for all kinds of theology. There were several other books of no particular name or merit, such as agents sell to people who know nothing of buying books. How my mother came by this little library which, considering all things, was so well suited to me I never sought to know. But she was far from being an ignorant woman and had herself, very likely, read the majority of these books, though I do not remember ever seeing her with a book in her hand, with the exception of the Episcopal Prayer book. At any rate she encouraged in me the habit of reading, and when I had about exhausted those books in the little library which interested me, she began to buy books for me. She also regularly gave me money to buy a weekly paper which was then very popular for boys.

      At this time I went in for music with an earnestness worthy of maturer years; a change of teachers was largely responsible for this. I began now to take lessons of the organist of the church which I attended with my mother; he was a good teacher and quite a thorough musician. He was so skillful in his instruction and filled me with such enthusiasm that my progress—these are his words—was marvelous. I remember that when I was barely twelve years old I appeared on a program with a number of adults at an entertainment given for some charitable purpose, and carried off the honors. I did more, I brought upon myself through the local newspapers the handicapping title of "infant prodigy."

      I can believe that I did astonish my audience, for I never played the piano like a child; that is, in the "one-two-three" style with accelerated motion. Neither did I depend upon mere brilliancy of technique, a trick by which children often surprise their listeners; but I always tried to interpret a piece of music; I always played with feeling. Very early I acquired that knack of using the pedals, which makes the piano a sympathetic, singing instrument, quite a different thing from the source of hard or blurred sounds it so generally is. I think this was due not entirely to natural artistic temperament, but largely to the fact that I did not begin to learn the piano by counting out exercises, but by trying to reproduce the quaint songs which my mother used to sing, with all their pathetic turns and cadences.

      Even at a tender age, in playing I helped to express what I felt by some of the mannerisms which I afterwards observed in great performers; I had not copied them. I have often heard people speak of the mannerisms of musicians as affectations adopted for mere effect; in some cases they may be so; but a true artist can no more play upon the piano or violin without putting his whole body in accord with the emotions he is striving to express than a swallow can fly without being graceful. Often when playing I could not keep the tears which formed in my eyes from rolling down my cheeks. Sometimes at the end or even in the midst of a composition, as big a boy as I was, I would jump from the piano, and throw myself sobbing into my mother's arms. She, by her caresses and often her tears, only encouraged these fits of sentimental hysteria. Of course, to counteract this tendency to temperamental excesses I should have been out playing ball or in swimming with other boys of my age; but my mother didn't know that. There was only once when she was really firm with me, making me do what she considered was best; I did not want to return to school after the unpleasant episode which I have related, and she was inflexible.

      I began my third term, and the days ran along as I have already indicated. I had been promoted twice, and had managed each time to pull "Red" along with me. I think the teachers came to consider me the only hope of his ever getting through school, and I believe they secretly conspired with me to bring about the desired end. At any rate, I know it became easier in each succeeding examination for me not only to assist "Red," but absolutely to do his work. It is strange how in some things honest people can be dishonest without the slightest compunction. I knew boys at school who were too honorable to tell a fib even when one would have been just the right thing, but could not resist the temptation to assist or receive assistance in an examination. I have long considered it the highest proof of honesty in a man to hand his street-car fare to the conductor who had overlooked it.

      One afternoon after school, during my third term, I rushed home in a great hurry to get my dinner and go to my music teacher's. I was never reluctant about going there, but on this particular afternoon I was impetuous. The reason of this was I had been asked to play the accompaniment for a young lady who was to play a violin solo at a concert given by the young people of the church, and on this afternoon we were to have our first rehearsal. At that time playing accompaniments was the only thing in music I did not enjoy; later this feeling grew into positive dislike. I have never been a really good accompanist because my ideas of interpretation were always too strongly individual. I constantly forced my accelerandos and rubatos upon the soloist, often throwing the duet entirely out of gear.

      Perhaps the reader has already guessed why I was so willing and anxious to play the accompaniment to this violin solo; if not—the violinist was a girl of seventeen or eighteen whom I had first heard play a short time before on a Sunday afternoon at a special service of some kind, and who had moved me to a degree which now I can hardly think of as possible. At present I do not think it was due to her wonderful playing, though I judge she must have been a very fair performer, but there was just the proper setting to produce the effect upon a boy such as I was; the half-dim church, the air of devotion on the part of the listeners, the heaving tremor of the organ under the clear wail of the violin, and she, her eyes almost closing, the escaping strands of her dark hair wildly framing her pale face, and her slender body swaying to the tones she called forth, all combined to fire my imagination and my heart with a passion, though boyish, yet strong and, somehow, lasting. I have tried to describe the scene; if I have succeeded, it is only half success, for words can only partially express what I wish to convey. Always in recalling that Sunday afternoon I am sub-conscious of a faint but distinct fragrance which, like some old memory-awakening perfume, rises and suffuses my whole imagination, inducing a state of reverie so airy as just to evade the powers of expression.

      She

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