Part 14

In the old days when Crowheart was a blacksmith shop and the stamping ground of "Snow-shoe" Brown, whose log cabin hung on the edge of the bench overlooking the stream like a crow's nest in a cottonwood tree, "Snow-shoe" Brown had yelled in vain, one spring day, at a man and woman on the seat of a covered wagon who were preparing to ford the stream at the usual crossing. But the sullen roar of the water drowned his warning that it was swimming depth, and, even while he ran for his horse and uncoiled his saddle rope, the current was sweeping the wagon and the struggling horses down stream. He followed along the bank until the horse's feet came up and the wagon went down, while there floated from the open end, among other things, something that looked to his astonished eyes like a wooden cradle. He threw his rope, and threw again, with the skill which long practice in roping mavericks had given him; and gently, gently, with a success which seemed miraculous even to "Snow-shoe" Brown, he had drawn the bobbing cradle gradually to shore. Inside, a baby smiled up at him with the bluest eyes he ever had seen. There was a picture primer tucked beneath the flannel coverlet and it contained the single clue to her identity. "Esther Tisdale" was written on the fly-leaf with a recent date.

"Snow-shoe" Brown said she was a maverick and unblushingly declared that he claimed all mavericks that he had had his rope on; therefore "Esther Tisdale" belonged to him. He left her in the care of the wife of a cattleman who hoped thereby to purchase immunity from "Snow-shoe's" activities, which he did, though that person rustled elsewhere with renewed energy, since he said he had a family to keep. So she learned to ride and shoot as straight as "Snow-shoe" himself and even as a child gave promise of a winsome, lovely girlhood. The unique relationship ended when her guardian died in his boots in the little cowtown over beyond the Limestone Rim. A hard winter and the inroads of sheep "broke" the cattleman who sold out and moved away, while Esther Tisdale shifted for herself that she might not be a burden. She was nearly twenty now, and, in the democratic community never had felt or been made to feel that her position was subservient or inferior. Therefore when her work was done and she bounded up the stairs to Dr. Harpe's door she felt sure of a welcome.

"It's only Essie Tisdale," she said in her merry voice as she rapped and peered into the room.

"Come in, Essie; I'm lonesome as the deuce!"

It was some time later that Mrs. Terriberry sailing through the corridor in her dressing-sacque and petticoat, with her feet scuffling in Mr. Terriberry's carpet-slippers, had the stone-china water-pitcher dashed from her hand as she turned a corner.

"Why, Essie!"

"Oh, I'm sorry, Mrs. Terriberry!"

"What's the matter?" She looked wonderingly at the girl's crimson face.

"Don't ask me! but don't expect me to be friends with that woman again!"

"Have you had words--have you quarrelled with Dr. Harpe?"

"Yes--yes; we quarrelled! But don't ask me any more! I won't--I can't tell you!" the girl replied fiercely as she rushed on and slammed the door of her room behind her.

In her office, Dr. Harpe was sitting by the window panic-stricken, sick with the fear of the one thing in the world of which she was most afraid, namely, Public Opinion.

She was deaf to the night sounds of the town; to the thick, argumentative voices beneath her window; to the scratched phonograph squeaking an ancient air in the office of the Terriberry House; to the banging of an erratic piano in the saloon two doors above; to the sleepy wails of the butcher's urchin in the tar-paper shack one door below, and to a heap of snarling dogs fighting in the deep, white dust of the street.

She glanced through the window and saw without seeing, the deputy-sheriff escorting an unsteady prisoner down the street followed by a boisterous crowd. In a way she was dimly conscious that there was something familiar in the prisoner's appearance, but the impression was not strong enough to rouse her from her preoccupation, and she turned to walk the floor without being cognizant of the fact that she was walking.

She suddenly threw both hands aloft.

"I've got it!" she cried exultingly. "The very thing to counteract her story. It'll work--it always does--and I know that I can do it!"

In her relief she laughed, a queer, cackling laugh which came strangely from the lips of a woman barely thirty. The laughter was still on her lips when a sound reached her ears which killed it as quickly as it came.

Addio mia bella Napoli, addio, addio! La tua soave imagine chi mai, chi mai scordar potra! Del ciel l'auzzurro fulgido, la placida marina, Qual core non imebria, non bea non bea divolutta! In tela terra el 'aura favellano d'amore; Te sola al mio dolore conforto io sognero Oh! addio mia bella Napoli, addio, addio! Addio care memorie del tempo ah! che fuggi!

The voice rang out like a golden bell, vibrating, as sweetly penetrating. The strange words fell like the notes of the meadow lark in spring, easy, liquid, yet with the sureness of knowledge.

The incoherent argument beneath the window ceased, the piano and the phonograph were silenced, the wailing urchin dried its tears and all the raw little town of Crowheart seemed to hold its breath as the wonderful tenor voice rose and fell on the soft June night.

Adieu, my own dear Napoli! Adieu to thee, Adieu to thee! Thy wondrous pictures in the sea, will ever fill my memory! Thy skies of deepest, brightest blue, thy placid waves so soft and clear; With heaving sigh and bitter tear, I bid a last, a sad adieu! Adieu the fragrant orange grove, the scented air that breathes of love Shall charm my heart with one bright ray, in dreams, wher'er I stray; Oh, adieu, my own dear Napoli! Adieu to thee, Adieu to thee! Adieu each soul-felt memory, of happy days long passed away!

The old street-song of Italy, the song of its people, never held a stranger audience in thraldom. If the song had been without words the result would have been the same, almost, for it was the voice which reached through liquor befuddled brains to find and stir remote and hidden recesses in natures long since hardened to sentiment. Rough speeches, ribald words and oaths died on the lips of those who crowded the doorway of saloons, and they stood spell-bound by the song which was sung as they felt dimly the angels must sing up there in that shadowy land back of the stars in which vaguely they believed.

Only those who have lived in isolated places can understand what music means to those who year after year are without it. Any sound that is not an actual discord becomes music then and the least gentle listen with pathetic eagerness. A worn phonograph screeching the popular songs of a past decade holds the rapt attention of such. It reminds them of that world they left long ago, a world which in the perspective of waning years looks all song and laughter, good company, good clothes, good food, and green things everywhere.

Therefore it is little wonder that this voice of marvellous sweetness and power rising unexpectedly out of the moonlit night should lay an awed hush upon the music-starved town. To some it brought a flood of memories and lumps in aching throats while many a weather-beaten face was lifted from mediocrity by a momentary exultation that was of the soul.

That a human voice unaided by a visible personality could throw such a spell upon the listeners seems rather a tax upon credulity; but the singer himself appeared to have no misgivings. His face wore a look of smiling, mocking confidence as he stood with one hand on his hip, the other grasping a bar of the iron grating which covered the single window of Crowheart's calaboose, pouring forth the golden notes with an occasional imperious toss of his head and a flash of his black eyes which made him look like a royal prisoner.

When the last note had died away, Dr. Harpe breathed an ejaculation.

"The Dago Duke!"

"He sings like an angel," said "Slivers," a barkeep.