The Collected Stories of Eudora Welty by Eudora Welty

  It appeared to Cassie that only the figure of Miss Eckhart, off there like a vast receptacle in its island of space, did not move or sway when the band played Tales of Hoffmann.

  One time Mr. Sissum gave Miss Eckhart something, a Billikin. The Billikin was a funny, ugly doll that Spights' store gave free to children with every pair of Billikin shoes. Never had Miss Eckhart laughed so hard, and with such an unfamiliar sound, as she laughed to see Mr. Sissum's favor. Tears ran down her bright, distorted cheeks every time one of the children coming into the studio picked the Billikin up. When her laughter was exhausted she would sigh faintly and ask for the doll, and then soberly set it down on a little minaret table, as if it were a vase of fresh red roses. Her old mother took it one day and cracked it across her knee.

  When Mr. Sissum was drowned, Miss Eckhart came to his funeral like everybody else. The Loomises invited her to ride with them. She looked exactly the same as ever, round and solid, her back a ramrod in her dress that was the wrong season's length and her same hat, the home-made one with cambric flowers sticking up on it. But when the coffin was lowered into Mr. Sissum's place in the Sissum lot under a giant magnolia tree, and Mr. Sissum's preacher, Dr. Carlyle, said burial service, Miss Eckhart broke out of the circle.

  She pressed to the front, through Sissums from everywhere and all the Presbyterians, and went close to get a look; and if Dr. Loomis had not caught her she would have gone headlong into the red clay hole. People said she might have thrown herself upon the coffin if they'd let her; just as, later, Miss Katie Rainey did on Victor's when he was brought back from France. But Cassie had the impression that Miss Eckhart simply wanted to see—to see what was being done with Mr. Sissum.

  As she struggled, her round face seemed stretched wider than it was long by a feeling that failed to match the feelings of everybody else. It was not the same as sorrow. Miss Eckhart, a stranger to their cemetery, where none of her people lay, pushed forward with her unstylish, winter purse swinging on her arm, and began to nod her head—sharply, to one side and then the other. She appeared almost little under the tree, but Mr. Comus Stark and Dr. Loomis looked more shrunken still by the side of her as they—sent by ladies—reached for her elbows. Her vigorous nods included them too, increasing in urgency. It was the way she nodded at pupils to bring up their rhythm, helping out the metronome.

  Cassie remembered how Miss Snowdie MacLain's grip tightened on her hand and stayed tightened until Miss Eckhart got over it. But Cassie remembered her manners better than to seem to watch Miss Eckhart after one look; she stared down at her Billikin shoes. And her mother had slipped away.

  It was strange that in Mr. Sissum's life Miss Eckhart, as everybody said, had never known what to do; and now she did this. Her sharp nodding was like something to encourage them all—to say that she knew now, to do this, and that nobody need speak to her or touch her unless, if they thought best, they could give her this little touch at the elbows, the steer of politeness.

  "Pizzicato."

  Once, Miss Eckhart gave out the word to define in the catechism lesson.

  "Pizzicato is when Mr. Sissum played the cello before he got drowned."

  That was herself: Cassie heard her own words. She had tried—she was as determined as if she'd been dared—to see how that sounded, spoken out like that to Miss Eckhart's face. She remembered how Miss Eckhart listened to her and did nothing but sit still as a statue, as she sat when the flowers came down over her head.

  After the way she cried in the cemetery—for they decided it must have been crying she did—some ladies stopped their little girls from learning any more music; Miss Jefferson Moody stopped Parnell.

  Cassie heard noises—a thump next door, the antiquated sound of thunder. There was nothing she could see—only Old Man Holifield's hat that idly made a half-turn on the bedpost, as if something, by a long grapevine, had jolted it.

  One summer morning, a sudden storm had rolled up and three children were caught at the studio—Virgie Rainey, little Jinny Love Stark, and Cassie—though the two bigger girls might have run their short way home with newspapers over their hair.

  Miss Eckhart, without saying what she was going to do, poked her finger solidly along the pile of music on top of the piano, pulled out a piece, and sat down on her own stool. It was the only time she ever performed in Cassie's presence except when she took the other half in duets.

  Miss Eckhart played as if it were Beethoven; she struck the music open midway and it was in soft yellow tatters like old satin. The thunder rolled and Miss Eckhart frowned and bent forward or she leaned back to play; at moments her solid body swayed from side to side like a tree trunk.

  The piece was so hard that she made mistakes and repeated to correct them, so long and stirring that it soon seemed longer than the day itself had been, and in playing it Miss Eckhart assumed an entirely different face. Her skin flattened and drew across her cheeks, her lips changed. The face could have belonged to someone else—not even to a woman, necessarily. It was the face a mountain could have, or what might be seen behind the veil of a waterfall. There in the rainy light it was a sightless face, one for music only—though the fingers kept slipping and making mistakes they had to correct. And if the sonata had an origin in a place on earth, it was the place where Virgie, even, had never been and was not likely ever to go.

  The music came with greater volume—with fewer halts—and Jinny Love tiptoed forward and began turning the music. Miss Eckhart did not even see her—her arm struck the child, making a run. Coming from Miss Eckhart, the music made all the pupils uneasy, almost alarmed; something had burst out, unwanted, exciting, from the wrong person's life. This was some brilliant thing too splendid for Miss Eckhart, piercing and striking the air around her the way a Christmas firework might almost jump out of the hand that was, each year, inexperienced anew.

  It was when Miss Eckhart was young that she had learned this piece, Cassie divined. Then she had almost forgotten it. But it took only a summer rain to start it again; she had been pricked and the music came like the red blood under the scab of a forgotten fall. The little girls, all stationed about the studio with the rushing rain outside, looked at one another, the three quite suddenly on some equal footing. They were all wondering—thinking—perhaps about escape. A mosquito circled Cassie's head, singing, and fastened on her arm, but she dared not move.

  What Miss Eckhart might have told them a long time ago was that there was more than the ear could bear to hear or the eye to see, even in her. The music was too much for Cassie Morrison. It lay in the very heart of the stormy morning—there was something almost too violent about a storm in the morning. She stood back in the room with her whole body averted as if to ward off blows from Miss Eckhart's strong left hand, her eyes on the faintly winking circle of the safe in the wall. She began to think of an incident that had happened to Miss Eckhart instead of about the music she was playing; that was one way.

  One time, at nine o'clock at night, a crazy Negro had jumped out of the school hedge and got Miss Eckhart, had pulled her down and threatened to kill her. That was long ago. She had been walking by herself after dark; nobody had told her any better. When Dr. Loomis made her well, people were surprised that she and her mother did not move away. They wished she had moved away, everybody but poor Miss Snowdie; then they wouldn't always have to remember that a terrible thing once happened to her. But Miss Eckhart stayed, as though she considered one thing not so much more terrifying than another. (After all, nobody knew why she came!) It was because she was from so far away, at any rate, people said to excuse her, that she couldn't comprehend; Miss Perdita Mayo, who took in sewing and made everybody's trousseaux, said Miss Eckhart's differences were why shame alone had not killed her and killed her mother too; that differences were reasons.

  Cassie thought as she listened, had to listen, to the music that perhaps more than anything it was the terrible fate that came on her that people could not forgive Miss Eckhart for. Yet things divined and endured, sp
ectacular moments, hideous things like the black stranger jumping out of the hedge at nine o'clock, all seemed to Cassie to be by their own nature rising—and so alike—and crossing the sky and setting, the way the planets did. Or they were more like whole constellations, turning at their very centers maybe, like Perseus and Orion and Cassiopeia in her Chair and the Big Bear and Little Bear, maybe often upside down, but terribly recognizable. It was not just the sun and moon that traveled. In the deepening of the night, the rising sky lifted like a cover when Louella let it soar as she made the bed.

  All kinds of things would rise and set in your own life, you could begin now to watch for them, roll back your head and feel their rays come down and reach your open eyes.

  Performing, Miss Eckhart was unrelenting. Even when the worst of the piece was over, her fingers like foam on rocks pulled at the spent-out part with unstilled persistence, insolence, violence.

  Then she dropped her hands.

  "Play it again, Miss Eckhart!" they all cried in startled recoil, begging for the last thing they wanted, looking at her great lump of body.

  "No."

  Jinny Love Stark gave them a grown-up look and closed the music. When she did, the other two saw it wasn't the right music at all, for it was some bound-together songs of Hugo Wolf.

  "What were you playing, though?"

  That was Miss Snowdie MacLain, standing in the door, holding streams of bead curtains in both hands.

  "I couldn't say," Miss Eckhart said, rising. "I have forgotten."

  The pupils all ran out in the slackening rain without another word, scattering in three directions by the mimosa tree, its flowers like wet fur, which once grew in the yard of the now-vacant house.

  Für Elise. It came again, but in a labored, foolish way. Was it a man, using one finger?

  Virgie Rainey had gone straight from taking music to playing the piano in the picture show. With her customary swiftness and lightness she had managed to skip an interval, some world-in-between where Cassie and Missie and Parnell were, all dyeing scarves. Virgie had gone direct into the world of power and emotion, which was beginning to seem even bigger than they had ail thought. She belonged now with the Gish and the Talmadge sisters. With her yellow pencil she hit the tin plate when the tent opened where Valentino lived.

  Virgie sat nightly at the foot of the screen ready for all that happened at the Bijou, and keeping pace with it. Nothing proved too much for her or ever got too far ahead, as it certainly got ahead of Mr. Sissum. When the dam broke everywhere at once, or when Nazimova cut off both feet with a saber rather than face life with Sinji, Virgie was instantly playing Kamennoi-Ostrow. Missie Spights said only one thing was wrong with having Virgie to play at the Bijou. She didn't work hard enough. Some evenings, she would lean back in her chair and let a whole forest fire burn in dead silence on the screen, and then when the sweethearts had found each other, she would switch on her light with a loud click and start up with creeping, minor runs—perhaps Anitra's Dance. But that had nothing to do with working hard.

  The only times she played Für Elise now were for the advertisements; she played it moodily while the slide of the big white chicken on the watermelon-pink sky came on for Bowles' Gro., or the yellow horn on the streaky blue sky flashed on for the Bugle, with Cassie's father's picture as a young man inserted in the wavy beam of noise. Für Elise never got finished any more; it began, went a little way, and was interrupted by Virgie's own clamorous hand. She could do things with "You've Got to See Mama Every Night," and "Avalon."

  By now, it was not likely she could play the opening movement of her Liszt concerto. That was the piece none of the rest of them could ever hope to play. Virgie would be heard from in the world, playing that, Miss Eckhart said, revealing to children with one ardent cry her lack of knowledge of the world. How could Virgie be heard from, in the world? And "the world"! Where did Miss Eckhart think she was now? Virgie Rainey, she repeated over and over, had a gift, and she must go away from Morgana. From them all. From her studio. In the world, she must study and practice her music for the rest of her life. In repeating all this, Miss Eckhart suffered.

  And all the time, it was on Miss Eckhart's piano that Virgie had to do her practicing. The Raineys' old borrowed piano was butted and half-eaten by the goats one summer day; something that could only happen at the Raineys'. But they had all known Virgie would never go, or study, or practice anywhere, never would even have her own piano, because it wouldn't be like her. They felt no less sure of that when they heard, every recital, every June, Virgie Rainey playing better and better something that was harder and harder, or watched this fill Miss Eckhart with stiff delight, curious anguish. The very place to prove Miss Eckhart crazy was on her own subject, piano playing: she didn't know what she was talking about.

  When the Raineys, after their barn got blown away in a big wind, had no more money to throw away on piano lessons, Miss Eckhart said she would teach Virgie free, because she must not stop learning. But later she made her pick the figs off the trees in the backyard in summer and the pecans off the ground in the front yard in winter, for her lessons. Virgie said Miss Eckhart never gave her a one. Yet she always had nuts in her pocket.

  Cassie heard a banging and a running next door, the obvious sound of falling. She shut her eyes.

  "Virgie Rainey, danke schoen." Once that was said in a dreadful voice, condemning. There were times in the studio when Miss Eckhart's mother would roll in; she had a wheelchair. The first years, she had kept to herself, rolling around no closer than the dining room, round and round with a whining wheel. She was old, and fair as a doll. Up close, her yellowish hair was powdery like goldenrod that had gone forgotten in a vase, turned white in its curls like Miss Snowdie's. She had wasting legs that showed knifelike down her long skirt, and clumsy-shaped, suffering feet that she placed just so out in front of her on the step of her chair, as if she wanted you to think they were pretty.

  The mother rolled into the studio whenever she liked, as time went on; with her shepherdess curls she bobbed herself through the beads that opened to her easier than a door. She would roll a certain distance into the room, then stop the wheels and wait there. She was not so much listening to the lesson as watching it, and though she was not keeping time, it was all the more noticeable the way her hands would tip, tap against her chair; she had a brass thimble on one finger.

  Ordinarily, Miss Eckhart never seemed disturbed by her mother's abrupt visits. She appeared gentler, more bemused than before, when old Mrs. Eckhart made Parnell Moody cry, just by looking at Parnell too hard. Should daughters forgive mothers (with mothers under their heel) ? Cassie would rather look at the two of them at night, separated by the dark and the distance between. For when from your own table you saw the Eckharts through their window in the light of a lamp, and Miss Eckhart with a soundless ebullience bouncing up to wait on her mother, sometimes you could imagine them back far away from Morgana, before they had troubles and before they had come to you—plump, bright, and sweet somewhere.

  Once when Virgie was practicing on Miss Eckhart's piano, and before she was through, the old mother screamed, "Danke schoen, danke schoen, danke schoen!" Cassie heard and saw her.

  She screamed with a shy look still on her face, as though through Virgie Rainey she would scream at the whole world, at least at all the music in the world and wasn't that all right? Then she sat there looking out the front window, half smiling, having mocked her daughter. Virgie, of course, kept on practicing—it was a Schumann "forest piece." She had a pomegranate flower (the marbelized kind, from the Moodys') stuck in her breast-pin, and it did not even move.

  But when the song was smoothly finished, Miss Eckhart made her way among the little tables and chairs across the studio. Cassie thought she was going for a drink of water, or something for herself. When she reached her mother, Miss Eckhart slapped the side of her mouth. She stood there a moment more, leaning over the chair—while it seemed to Cassie that it must, after all, have been the mother th
at slapped the daughter—with the key from her bosom, slipped out, beginning to swing on its chain, back and forth, catching the light.

  Then Miss Eckhart, with her back turned, asked Cassie and Virgie to stay for dinner.

  Enveloping all that the pupils did—entering the house, parting the curtains, turning the music page, throwing up the wrist for a "rest"—was the smell of cooking. But the smell was wrong, as the pitch of a note could be wrong. It was the smell of food nobody else had ever tasted.

  Cabbage was cooked there by no Negro and by no way it was ever cooked in Morgana. With wine. The wine was brought on foot by Dago Joe, and to the front door. Some nice mornings the studio smelled like a spiced apple. But it was known from Mr. Wiley Bowles, the grocer, that Miss Eckhart and her mother (whose mouth was still held crooked after the slap) ate pigs' brains. Poor Miss Snowdie!

  Cassie yearned—she did want to taste the cabbage—that was really the insurmountable thing, and even the brains of a pig she would have put in her mouth that day. With that, Missie Spights might be flouted. But when Miss Eckhart said, "Please—please, will you stay to dinner?" Virgie and Cassie twined arms and said "No" together.

  The war came and all through it and even after 1918 people said Miss Eckhart was a German and still wanted the Kaiser to win, and that Miss Snowdie could get along without her. But the old mother died, and Miss Snowdie said Miss Eckhart needed a friendly roof more than she did herself. Miss Eckhart raised the price of her lessons to six dollars a month. Miss Mamie Carmichael stopped her girls from taking, for this or for one thing or another, and then Miss Billy Texas Spights stopped Missie to be like her. Virgie stopped taking her free lessons when her brother Victor was killed in France, but that might have been coincidence, for Virgie had a birthday: she was fourteen. It might have been Virgie's stopping that took away Miss Eckhart's luck for good.