Emily of New Moon

Lucy Maud Montgomery

Chapter 1 The House in the Hollow

The house in the hollow was "a mile from anywhere"—so Maywood people said. It was situated in a grassy little dale, looking as if it had never been built like other houses but had grown up there like a big, brown mushroom. It was reached by a long, green lane and almost hidden from view by an encircling growth of young birches. No other house could be seen from it although the village was just over the hill. Ellen Greene said it was the lonesomest place in the world and vowed that she wouldn't stay there a day if it wasn't that she pitied the child.

Emily didn't know she was being pitied and didn't know what lonesomeness meant. She had plenty of company. There was Father—and Mike—and Saucy Sal. The Wind Woman was always around; and there were the trees—Adam-and-Eve, and the Rooster Pine, and all the friendly lady-birches.

And there was "the flash," too. She never knew when it might come, and the possibility of it kept her a-thrill and expectant.

Emily had slipped away in the chilly twilight for a walk. She remembered that walk very vividly all her life—perhaps because of a certain eerie beauty that was in it—perhaps because "the flash" came for the first time in weeks—more likely because of what happened after she came back from it.

It had been a dull, cold day in early May, threatening to rain but never raining. Father had lain on the sitting-room lounge all day. He had coughed a good deal and he had not talked much to Emily, which was a very unusual thing for him. Most of the time he lay with his hands clasped under his head and his large, sunken, dark-blue eyes fixed dreamily and unseeingly on the cloudy sky that was visible between the boughs of the two big spruces in the front yard—Adam-and-Eve, they always called those spruces, because of a whimsical resemblance Emily had traced between their position, with reference to a small apple-tree between them, and that of Adam and Eve and the Tree of Knowledge in an old-fashioned picture in one of Ellen Greene's books. The Tree of Knowledge looked exactly like the squat little apple-tree, and Adam and Eve stood up on either side as stiffly and rigidly as did the spruces.

Emily wondered what Father was thinking of, but she never bothered him with questions when his cough was bad. She only wished she had somebody to talk to. Ellen Greene wouldn't talk that day either. She did nothing but grunt, and grunts meant that Ellen was disturbed about something. She had grunted last night after the doctor had whispered to her in the kitchen, and she had grunted when she gave Emily a bedtime snack of bread and molasses. Emily did not like bread and molasses, but she ate it because she did not want to hurt Ellen's feelings. It was not often that Ellen allowed her anything to eat before going to bed, and when she did it meant that for some reason or other she wanted to confer a special favour.

Emily expected the grunting attack would wear off over night, as it generally did; but it had not, so no company was to be found in Ellen. Not that there was a great deal to be found at any time. Douglas Starr had once, in a fit of exasperation, told Emily that "Ellen Greene was a fat, lazy old thing of no importance," and Emily, whenever she looked at Ellen after that, thought the description fitted her to a hair. So Emily had curled herself up in the ragged, comfortable old wing-chair and read The Pilgrim's Progress all the afternoon. Emily loved The Pilgrim's Progress. Many a time had she walked the straight and narrow path with Christian and Christiana—although she never liked Christiana's adventures half as well as Christian's. For one thing, there was always such a crowd with Christiana. She had not half the fascination of that solitary, intrepid figure who faced all alone the shadows of the Dark Valley and the encounter with Apollyon. Darkness and hobgoblins were nothing when you had plenty of company. But to be alone—ah, Emily shivered with the delicious horror of it!

When Ellen announced that supper was ready Douglas Starr told Emily to go out to it.

"I don't want anything to-night. I'll just lie here and rest. And when you come in again we'll have a real talk, Elfkin."

He smiled up at her his old, beautiful smile, with the love behind it, that Emily always found so sweet. She ate her supper quite happily—though it wasn't a good supper. The bread was soggy and her egg was underdone, but for a wonder she was allowed to have both Saucy Sal and Mike sitting, one on each side of her, and Ellen only grunted when Emily fed them wee bits of bread and butter.

Mike had such a cute way of sitting up on his haunches and catching the bits in his paws, and Saucy Sal had her trick of touching Emily's ankle with an almost human touch when her turn was too long in coming. Emily loved them both, but Mike was her favourite. He was a handsome, dark-grey cat with huge owl-like eyes, and he was so soft and fat and fluffy. Sal was always thin; no amount of feeding put any flesh on her bones. Emily liked her, but never cared to cuddle or stroke her because of her thinness. Yet there was a sort of weird beauty about her that appealed to Emily. She was grey-and-white—very white and very sleek, with a long, pointed face, very long ears and very green eyes. She was a redoubtable fighter, and strange cats were vanquished in one round. The fearless little spitfire would even attack dogs and rout them utterly.

Emily loved her pussies. She had brought them up herself, as she proudly said. They had been given to her when they were kittens by her Sunday-school teacher.

"A living present is so nice," she told Ellen, "because it keeps on getting nicer all the time."

But she worried considerably because Saucy Sal didn't have kittens.

"I don't know why she doesn't," she complained to Ellen Greene. "Most cats seem to have more kittens than they know what to do with."

After supper Emily went in and found that her father had fallen asleep. She was very glad of this; she knew he had not slept much for two nights; but she was a little disappointed that they were not going to have that "real talk." "Real" talks with Father were always such delightful things. But next best would be a walk—a lovely all-by-your-lonesome walk through the grey evening of the young spring. It was so long since she had had a walk.

"You put on your hood and mind you scoot back if it starts to rain," warned Ellen. "You can't monkey with colds the way some kids can."

"Why can't I?" Emily asked rather indignantly. Why must she be debarred from "monkeying with colds" if other children could? It wasn't fair.

But Ellen only grunted. Emily muttered under her breath for her own satisfaction, "You are a fat old thing of no importance!" and slipped upstairs to get her hood—rather reluctantly, for she loved to run bareheaded. She put the faded blue hood on over her long, heavy braid of glossy, jet-black hair, and smiled chummily at her reflection in the little greenish glass. The smile began at the corners of her lips and spread over her face in a slow, subtle, very wonderful way, as Douglas Starr often thought. It was her dead mother's smile—the thing that had caught and held him long ago when he had first seen Juliet Murray. It seemed to be Emily's only physical inheritance from her mother. In all else, he thought, she was like the Starrs—in her large, purplish-grey eyes with their very long lashes and black brows, in her high, white forehead—too high for beauty—in the delicate modelling of her pale oval face and sensitive mouth, in the little ears that were pointed just a wee bit to show that she was kin to tribes of elfland.

"I'm going for a walk with the Wind Woman, dear," said Emily. "I wish I could take you, too. Do you ever get out of that room, I wonder. The Wind Woman is going to be out in the fields to-night. She is tall and misty, with thin, grey, silky clothes blowing all about her—and wings like a bat's—only you can see through them—and shining eyes like stars looking through her long, loose hair. She can fly—but to-night she will walk with me all over the fields. She's a great friend of mine—the Wind Woman is. I've known her ever since I was six. We're old, old friends—but not quite so old as you and I, little Emily-in-the-glass. We've been friends always, haven't we?"

With a blown kiss to little Emily-in-the-glass, Emily-out-of-the-glass was off.

The Wind Woman was waiting for her outside—ruffling the little spears of striped grass that were sticking up stiffly in the bed under the sitting-room window—tossing the big boughs of Adam-and-Eve—whispering among the misty green branches of the birches—teasing the "Rooster Pine" behind the house—it really did look like an enormous, ridiculous rooster, with a huge, bunchy tail and a head thrown back to crow.

It was so long since Emily had been out for a walk that she was half crazy with the joy of it. The winter had been so stormy and the snow so deep that she was never allowed out; April had been a month of rain and wind; so on this May evening she felt like a released prisoner. Where should she go? Down the brook—or over the fields to the spruce barrens? Emily chose the latter.

She loved the spruce barrens, away at the further end of the long, sloping pasture. That was a place where magic was made. She came more fully into her fairy birthright there than in any other place. Nobody who saw Emily skimming over the bare field would have envied her. She was little and pale and poorly clad; sometimes she shivered in her thin jacket; yet a queen might have gladly given a crown for her visions—her dreams of wonder. The brown, frosted grasses under her feet were velvet piles. The old mossy, gnarled half-dead spruce-tree, under which she paused for a moment to look up into the sky, was a marble column in a palace of the gods; the far dusky hills were the ramparts of a city of wonder. And for companions she had all the fairies of the country-side—for she could believe in them here—the fairies of the white clover and satin catkins, the little green folk of the grass, the elves of the young fir-trees, sprites of wind and wild fern and thistledown. Anything might happen there—everything might come true.

And the barrens were such a splendid place in which to play hide and seek with the Wind Woman. She was so very real there; if you could just spring quickly enough around a little cluster of spruces—only you never could—you would see her as well as feel her and hear her. There she was—that was the sweep of her grey cloak—no, she was laughing up in the very top of the taller trees—and the chase was on again—till, all at once, it seemed as if the Wind Woman were gone—and the evening was bathed in a wonderful silence—and there was a sudden rift in the curdled clouds westward, and a lovely, pale, pinky-green lake of sky with a new moon in it.

Emily stood and looked at it with clasped hands and her little black head upturned. She must go home and write down a description of it in the yellow account-book, where the last thing written had been, "Mike's Biography." It would hurt her with its beauty until she wrote it down. Then she would read it to Father. She must not forget how the tips of the trees on the hill came out like fine black lace across the edge of the pinky-green sky.

And then, for one glorious, supreme moment, came "the flash."

Emily called it that, although she felt that the name didn't exactly describe it. It couldn't be described—not even to Father, who always seemed a little puzzled by it. Emily never spoke of it to any one else.

It had always seemed to Emily, ever since she could remember, that she was very, very near to a world of wonderful beauty. Between it and herself hung only a thin curtain; she could never draw the curtain aside—but sometimes, just for a moment, a wind fluttered it and then it was as if she caught a glimpse of the enchanting realm beyond—only a glimpse—and heard a note of unearthly music.

This moment came rarely—went swiftly, leaving her breathless with the inexpressible delight of it. She could never recall it—never summon it—never pretend it; but the wonder of it stayed with her for days. It never came twice with the same thing. To-night the dark boughs against that far-off sky had given it. It had come with a high, wild note of wind in the night, with a shadow wave over a ripe field, with a greybird lighting on her window-sill in a storm, with the singing of "Holy, holy, holy" in church, with a glimpse of the kitchen fire when she had come home on a dark autumn night, with the spirit-like blue of ice palms on a twilit pane, with a felicitous new word when she was writing down a "description" of something. And always when the flash came to her Emily felt that life was a wonderful, mysterious thing of persistent beauty.

She scuttled back to the house in the hollow, through the gathering twilight, all agog to get home and write down her "description" before the memory picture of what she had seen grew a little blurred. She knew just how she would begin it—the sentence seemed to shape itself in her mind: "The hill called to me and something in me called back to it."

She found Ellen Greene waiting for her on the sunken front-doorstep. Emily was so full of happiness that she loved everything at that moment, even fat things of no importance. She flung her arms around Ellen's knees and hugged them. Ellen looked down gloomily into the rapt little face, where excitement had kindled a faint wild-rose flush, and said, with a ponderous sigh:

"Do you know that your pa has only a week or two more to live?"

Chapter 2 A Watch in the Night

Emily stood quite still and looked up at Ellen's broad, red face—as still as if she had been suddenly turned to stone. She felt as if she had. She was as stunned as if Ellen had struck her a physical blow. The colour faded out of her little face and her pupils dilated until they swallowed up the irises and turned her eyes into pools of blackness. The effect was so startling that even Ellen Greene felt uncomfortable.

"I'm telling you this because I think it's high time you was told," she said. "I've been at your pa for months to tell you, but he's kept putting it off and off. I says to him, says I, 'You know how hard she takes things, and if you drop off suddent some day it'll most kill her if she hasn't been prepared. It's your duty to prepare her,' and he says, says he, 'There's time enough yet, Ellen.' But he's never said a word, and when the doctor told me last night that the end might come any time now, I just made up my mind that I'd do what was right and drop a hint to prepare you. Laws-a-massy, child, don't look like that! You'll be looked after. Your ma's people will see to that—on account of the Murray pride, if for no other reason. They won't let one of their own blood starve or go to strangers—even if they have always hated your pa like p'isen. You'll have a good home—better'n you've ever had here. You needn't worry a mite. As for your pa, you ought to be thankful to see him at rest. He's been dying by inches for the last five years. He's kept it from you, but he's been a great sufferer. Folks say his heart broke when your ma died—it came on him so suddent-like—she was only sick three days. That's why I want you to know what's coming, so's you won't be all upset when it happens. For mercy's sake, Emily Byrd Starr, don't stand there staring like that! You give me the creeps! You ain't the first child that's been left an orphan and you won't be the last. Try and be sensible. And don't go pestering your pa about what I've told you, mind that. Come you in now, out of the damp, and I'll give you a cooky 'fore you go to bed."

Ellen stepped 'down as if to take the child's hand. The power of motion returned to Emily—she must scream if Ellen even touched her now. With one sudden, sharp, bitter little cry she avoided Ellen's hand, darted through the door and fled up the dark staircase.

Ellen shook her head and waddled back to her kitchen. "Anyhow, I've done my duty," she reflected. "He'd have just kept saying 'time enough' and put it off till he was dead and then there'd have been no managing her. She'll have time now to get used to it, and she'll brace up in a day or two. I will say for her she's got spunk—which is lucky, from all I've heard of the Murrays. They won't find it easy to overcrow her. She's got a streak of their pride, too, and that'll help her through. I wish I dared send some of the Murrays word that he's dying, but I don't dast go that far. There's no telling what he'd do. Well, I've stuck on here to the last and I ain't sorry. Not many women would 'a' done it, living as they do here. It's a shame the way that child's been brought up—never even sent to school. Well, I've told him often enough what I've thought of it—it ain't on my conscience, that's one comfort. Here, you Sal-thing, you git out! Where's Mike, too?"

Ellen could not find Mike for the very good reason that he was upstairs with Emily, held tightly in her arms, as she sat in the darkness on her little cot-bed. Amid her agony and desolation there was a certain comfort in the feel of his soft fur and round velvety head.

Emily was not crying; she stared straight into the darkness, trying to face the awful thing Ellen had told her. She did not doubt it—something told her it was true. Why couldn't she die, too? She couldn't go on living without Father.

"If I was God I wouldn't let things like this happen," she said.

She felt it was very wicked of her to say such a thing—Ellen had told her once that it was the wickest thing any one could do to find fault with God. But she didn't care. Perhaps if she were wicked enough God would strike her dead and then she and Father could keep on being together.

But nothing happened—only Mike got tired of being held so tightly and squirmed away. She was all alone now, with this terrible burning pain that seemed all over her and yet was not of the body. She could never get rid of it. She couldn't help it by writing about it in the old yellow account-book. She had written there about her Sunday-school teacher going away, and of being hungry when she went to bed, and Ellen telling her she must be half-crazy to talk of Wind Women and flashes; and after she had written down all about them these things hadn't hurt her any more. But this couldn't be written about. She could not even go to Father for comfort, as she had gone when she burned her hand so badly, picking up the red-hot poker by mistake. Father had held her in his arms all that night and told her stories and helped her to bear the pain. But Father, so Ellen had said, was going to die in a week or two. Emily felt as if Ellen had told her this years and years ago. It surely couldn't be less than an hour since she had been playing with the Wind Woman in the barrens and looking at the new moon in the pinky-green sky.

"The flash will never come again—it can't," she thought.

But Emily had inherited certain things from her fine old ancestors—the power to fight—to suffer,—to pity—to love very deeply—to rejoice—to endure. These things were all in her and looked out at you through her purplish-grey eyes. Her heritage of endurance came to her aid now and bore her up. She must not let Father know what Ellen had told her—it might hurt him. She must keep it all to herself and love Father, oh, so much, in the little while she could yet have him. She heard him cough in the room below: she must be in bed when he came up; she undressed as swiftly as her cold fingers permitted and crept into the little cot-bed which stood across the open window. The voices of the gentle spring night called to her all unheeded—unheard the Wind Woman whistled by the eaves. For the fairies dwell only in the kingdom of Happiness; having no souls they cannot enter the kingdom of Sorrow.

She lay there cold and tearless and motionless when her father came into the room. How very slowly he walked—how very slowly he took off his clothes. How was it she had never noticed these things before? But he was not coughing at all. Oh, what if Ellen were mistaken?—what if—a wild hope shot through her aching heart. She gave a little gasp.

Douglas Starr came over to her bed. She felt his dear nearness as he sat down on the chair beside her, in his old red dressing-gown. Oh, how she loved him! There was no other Father like him in all the world—there never could have been—so tender, so understanding, so wonderful! They had always been such chums—they had loved each other so much—it couldn't be that they were to be separated.

"Winkums, are you asleep?"

"No," whispered Emily.

"Are you sleepy, small dear?"

"No—no—not sleepy."

Douglas Starr took her hand and held it tightly.

"Then we'll have our talk, honey. I can't sleep either. I want to tell you something."

"Oh—I know it—I know it!" burst out Emily. "Oh, Father, I know it! Ellen told me."

Douglas Starr was silent for a moment. Then he said under his breath, "The old fool—the fat old fool!"—as if Ellen's fatness was an added aggravation of her folly. Again, for the last time, Emily hoped. Perhaps it was all a dreadful mistake—just some more of Ellen's fat foolishness.

"It—it isn't true, is it, Father?" she whispered.

"Emily, child," said her father, "I can't lift you up—I haven't the strength—but climb up and sit on my knee—in the old way."

Emily slipped out of bed and got on her father's knee. He wrapped the old dressing-gown about her and held her close with his face against hers.

"Dear little child—little beloved Emilykin, it is quite true," he said. "I meant to tell you myself to-night. And now the old absurdity of an Ellen has told you—brutally I suppose—and hurt you dreadfully. She has the brain of a hen and the sensibility of a cow. May jackals sit on her grandmother's grave! I wouldn't have hurt you, dear."

Emily fought something down that wanted to choke her.

"Father, I can't—I can't bear it."

"Yes, you can and will. You will live because there is something for you to do, I think. You have my gift—along with something I never had. You will succeed where I failed, Emily. I haven't been able to do much for you, sweetheart, but I've done what I could. I've taught you something, I think—in spite of Ellen Greene. Emily, do you remember your mother?"

"Just a little—here and there—like lovely bits of dreams."

"You were only four when she died. I've never talked much to you about her—I couldn't. But I'm going to tell you all about her to-night. It doesn't hurt me to talk of her now—I'll see her so soon again. You don't look like her, Emily—only when you smile. For the rest, you're like your namesake, my mother. When you were born I wanted to call you Juliet, too. But your mother wouldn't. She said if we called you Juliet then I'd soon take to calling her 'Mother' to distinguish between you, and she couldn't endure that. She said her Aunt Nancy had once said to her, 'The first time your husband calls you "Mother" the romance of life is over.' So we called you after my mother—her maiden name was Emily Byrd. Your mother thought Emily the prettiest name in the world—it was quaint and arch and delightful, she said. Emily, your mother was the sweetest woman ever made."

His voice trembled and Emily snuggled close.

"I met her twelve years ago, when I was sub-editor of the Enterprise up in Charlottetown and she was in her last year at Queen's. She was tall and fair and blue-eyed. She looked a little like your Aunt Laura, but Laura was never so pretty. Their eyes were very much alike—and their voices. She was one of the Murrays from Blair Water. I've never told you much about your mother's people, Emily. They live up on the old north shore at Blair Water on New Moon Farm—always have lived there since the first Murray came out from the Old Country in 1790. The ship he came on was called the New Moon and he named his farm after her."

"It's a nice name—the new moon is such a pretty thing," said Emily, interested for a moment.

"There's been a Murray ever since at New Moon Farm. They're a proud family—the Murray pride is a byword along the north shore, Emily. Well, they had some things to be proud of, that cannot be denied—but they carried it too far. Folks call them 'the chosen people' up there.

"They increased and multiplied and scattered all over, but the old stock at New Moon Farm is pretty well run out. Only your aunts, Elizabeth and Laura, live there now, and their cousin, Jimmy Murray. They never married—could not find any one good enough for a Murray, so it used to be said. Your Uncle Oliver and your Uncle Wallace live in Summerside, your Aunt Ruth in Shrewsbury, and your Great-Aunt Nancy at Priest Pond."

"Priest Pond—that's an interesting name—not a pretty name like New Moon and Blair Water—but interesting," said Emily. Feeling Father's arm around her the horror had momentarily shrunk away. For just a little while she ceased to believe it.

Douglas Starr tucked the dressing-gown a little more closely around her, kissed her black head, and went on.

"Elizabeth and Laura and Wallace and Oliver and Ruth were old Archibald Murray's children. His first wife was their mother. When he was sixty he married again—a young slip of a girl—who died when your mother was born. Juliet was twenty years younger than her half-family, as she used to call them. She was very pretty and charming and they all loved and petted her and were very proud of her. When she fell in love with me, a poor young journalist, with nothing in the world but his pen and his ambition, there was a family earthquake. The Murray pride couldn't tolerate the thing at all. I won't rake it all up—but things were said I could never forget or forgive. Your mother married me, Emily—and the New Moon people would have nothing more to do with her. Can you believe that, in spite of it, she was never sorry for marrying me?"

Emily put up her hand and patted her father's hollow cheek.

"Of course she wouldn't be sorry. Of course she'd rather have you than all the Murrays of any kind of a moon."

Father laughed a little—and there was just a note of triumph in his laugh.

"Yes, she seemed to feel that way about it. And we were so happy—oh, Emilykin, there never were two happier people in the world. You were the child of that happiness. I remember the night you were born in the little house in Charlottetown. It was in May and a west wind was blowing silvery clouds over the moon. There was a star or two here and there. In our tiny garden—everything we had was small except our love and our happiness—it was dark and blossomy. I walked up and down the path between the beds of violets your mother had planted—and prayed. The pale east was just beginning to glow like a rosy pearl when someone came and told me I had a little daughter. I went in—and your mother, white and weak, smiled just that dear, slow, wonderful smile I loved, and said, 'We've—got—the—only—baby—of any importance—in—the—world, dear. Just—think—of that!'"

"I wish people could remember from the very moment they're born," said Emily. "It would be so very interesting."

"I dare say we'd have a lot of uncomfortable memories," said her father, laughing a little. "It can't be very pleasant getting used to living—no pleasanter than getting used to stopping it. But you didn't seem to find it hard, for you were a good wee kidlet, Emily. We had four more happy years, and then—do you remember the time your mother died, Emily?"

"I remember the funeral, Father—I remember it distinctly. You were standing in the middle of a room, holding me in your arms, and Mother was lying just before us in a long, black box. And you were crying—and I couldn't think why—and I wondered why Mother looked so white and wouldn't open her eyes. And I leaned down and touched her cheek—and oh, it was so cold. It made me shiver. And somebody in the room said, 'Poor little thing!' and I was frightened and put my face down on your shoulder."

"Yes, I recall that. Your mother died very suddenly. I don't think we'll talk about it. The Murrays all came to her funeral. The Murrays have certain traditions and they live up to them very strictly. One of them is that nothing but candles shall be burned for light at New Moon—and another is that no quarrel must be carried past the grave. They came when she was dead—they would have come when she was ill if they had known, I will say that much for them. And they behaved very well—oh, very well indeed. They were not the Murrays of New Moon for nothing. Your Aunt Elizabeth wore her best black satin dress to the funeral. For any funeral but a Murray's the second best one would have done; and they made no serious objection when I said your mother would be buried in the Starr plot in Charlottetown cemetery. They would have liked to take her back to the old Murray burying-ground in Blair Water—they had their own private burying-ground, you know—no indiscriminate graveyard for them.But your Uncle Wallace handsomely admitted that a woman should belong to her husband's family in death as in life. And then they offered to take you and bring you up—to 'give you your mother's place.' I refused to let them have you—then. Did I do right, Emily?"

"Yes—yes—yes!" whispered Emily, with a hug at every "yes."

"I told Oliver Murray—it was he who spoke to me about you—that as long as I lived I would not be parted from my child. He said, 'If you ever change your mind, let us know.' But I did not change my mind—not even three years later when my doctor told me I must give up work. 'If you don't, I give you a year,' he said, 'if you do, and live out-of-doors all you can, I give you three—or possibly four.' He was a good prophet. I came out here and we've had four lovely years together, haven't we, small dear one?"

"Yes—oh, yes!"

"Those years and what I've taught you in them are the only legacy I can leave you, Emily. We've been living on a tiny income I have from a life interest that was left me in an old uncle's estate—an uncle who died before I was married. The estate goes to a charity now, and this little house is only a rented one. From a worldly point of view I've certainly been a failure. But your mother's people will care for you—I know that. The Murray pride will guarantee so much, if nothing else. And they can't help loving you. Perhaps I should have sent for them before—perhaps I ought to do it yet. But I have pride of a kind, too—the Starrs are not entirely traditionless—and the Murrays said some very bitter things to me when I married your mother. Will I send to New Moon and ask them to come, Emily?"

"No!" said Emily, almost fiercely.

She did not want any one to come between her and Father for the few precious days left. The thought was horrible to her. It would be bad enough if they had to come—afterwards. But she would not mind anything much—then.

"We'll stay together to the very end, then, little Emily-child. We won't be parted for a minute. And I want you to be brave. You mustn't be afraid of anything, Emily. Death isn't terrible. The universe is full of love—and spring comes everywhere—and in death you open and shut a door. There are beautiful things on the other side of the door. I'll find your mother there—I've doubted many things, but I've never doubted that. Sometimes I've been afraid that she would get so far ahead of me in the ways of eternity that I'd never catch up. But I feel now that she's waiting for me. And we'll wait for you—we won't hurry—we'll loiter and linger till you catch up with us."

"I wish you—could take me right through the door with you," whispered Emily.

"After a little while you won't wish that. You have yet to learn how kind time is. And life has something for you—I feel it. Go forward to meet it fearlessly, dear. I know you don't feel like that just now—but you will remember my words by and by."

"I feel just now," said Emily, who couldn't bear to hide anything from Father, "that I don't like God any more."

Douglas Starr laughed—the laugh Emily liked best. It was such a dear laugh—she caught her breath over the dearness of it. She felt his arms tightening round her.

"Yes, you do, honey. You can't help liking God. He is Love itself, you know. You mustn't mix Him up with Ellen Greene's God, of course."

Emily didn't know exactly what Father meant. But all at once she found that she wasn't afraid any longer—and the bitterness had gone out of her sorrow, and the unbearable pain out of her heart. She felt as if love was all about her and around her, breathed out from some great, invisible, hovering Tenderness. One couldn't be afraid or bitter where love was—and love was everywhere. Father was going through the door—no, he was going to lift a curtain—she liked that thought better, because a curtain wasn't as hard and fast as a door—and he would slip into that world of which the flash had given her glimpses. He would be there in its beauty—never very far away from her. She could bear anything if she could only feel that Father wasn't very far away from her—just beyond that wavering curtain.

Douglas Starr held her until she fell asleep; and then in spite of his weakness he managed to lay her down in her little bed.

"She will love deeply—she will suffer terribly—she will have glorious moments to compensate—as I have had. As her mother's people deal with her, so may God deal with them," he murmured brokenly.

Chapter 3 A Hop Out of Kin

Douglas Starr lived two weeks more. In after years when the pain had gone out of their recollection, Emily thought they were the most precious of her memories. They were beautiful weeks—beautiful and not sad. And one night, when he was lying on the couch in the sitting-room, with Emily beside him in the old wing-chair, he went past the curtain—went so quietly and easily that Emily did not know he was gone until she suddenly felt the strange stillness of the room—there was no breathing in it but her own.

"Father—Father!" she cried. Then she screamed for Ellen.

Ellen Greene told the Murrays when they came that Emily had behaved real well, when you took everything into account. To be sure, she had cried all night and hadn't slept a wink; none of the Maywood people who came flocking kindly in to help could comfort her; but when morning came her tears were all shed. She was pale and quiet and docile.

"That's right, now," said Ellen, "that's what comes of being properly prepared. Your pa was so mad at me for warning you that he wasn't rightly civil to me since—and him a dying man. But I don't hold any grudge against him. I did my duty. Mrs Hubbard's fixing up a black dress for you, and it'll be ready by supper-time. Your ma's people will be here to-night, so they've telegraphed, and I'm bound they'll find you looking respectable. They're well off and they'll provide for you. Your pa hasn't left a cent but there ain't any debts, I'll say that for him. Have you been in to see the body?"

"Don't call him that," cried Emily, wincing. It was horrible to hear Father called that.

"Why not? If you ain't the queerest child! He makes a better-looking corpse than I thought he would, what with being so wasted and all. He was always a pretty man, though too thin."

"Ellen Greene," said Emily, suddenly, "if you say any more of—those things—about Father, I will put the black curse on you!"

Ellen Greene stared.

"I don't know what on earth you mean. But that's no way to talk to me, after all I've done for you. You'd better not let the Murrays' hear you talking like that or they won't want much to do with you. The black curse indeed! Well, here's gratitude!"

Emily's eyes smarted. She was just a lonely, solitary little creature and she felt very friendless. But she was not at all remorseful for what she had said to Ellen and she was not going to pretend she was.

"Come you here and help me wash these dishes," ordered Ellen. "It'll do you good to have something to take up your mind and then you won't be after putting curses on people who have worked their fingers to the bone for you."

Emily, with an eloquent glance at Ellen's hands, went and got a dish-towel.

"Your hands are fat and pudgy," she said. "The bones don't show at all."

"Never mind sassing back! It's awful, with your poor pa dead in there. But if your Aunt Ruth takes you she'll soon cure you of that."

"Is Aunt Ruth going to take me?"

"I don't know, but she ought to. She's a widow with no chick or child, and well-to-do."

"I don't think I want Aunt Ruth to take me," said Emily, deliberately, after a moment's reflection.

"Well, you won't have the choosing likely. You ought to be thankful to get a home anywhere. Remember you're not of much importance."

"I am important to myself," cried Emily proudly.

"It'll be some chore to bring you up," muttered Ellen. "Your Aunt Ruth is the one to do it, in my opinion. She won't stand no nonsense. A fine woman she is and the neatest housekeeper on P. E. Island. You could eat off her floor."

"I don't want to eat off her floor. I don't care if a floor is dirty as long as the tablecloth is clean."

"Well, her tablecloths are clean too, I reckon. She's got an elegant house in Shrewsbury with bow windows and wooden lace all round the roof. It's very stylish. It would be a fine home for you. She'd learn you some sense and do you a world of good."

"I don't want to learn sense and be done a world of good to," cried Emily with a quivering lip. "I—I want somebody to love me."

"Well, you've got to behave yourself if you want people to like you. You're not to blame so much—your pa has spoiled you. I told him so often enough, but he just laughed. I hope he ain't sorry for it now. The fact is, Emily Starr, you're queer, and folks don't care for queer children."

"How am I queer?" demanded Emily.

"You talk queer—and you act queer—and at times you look queer. And you're too old for your age—though that ain't your fault. It comes of never mixing with other children. I've always threaped at your father to send you to school—learning at home ain't the same thing—but he wouldn't listen to me, of course. I don't say but what you are as far along in book learning as you need to be, but what you want is to learn how to be like other children. In one way it would be a good thing if your Uncle Oliver would take you, for he's got a big family. But he's not as well off as the rest, so it ain't likely he will. Your Uncle Wallace might, seeing as he reckons himself the head of the family. He's only got a grown-up daughter. But his wife's delicate—or fancies she is."

"I wish Aunt Laura would take me," said Emily. She remembered that Father had said Aunt Laura was something like her mother.

"Aunt Laura! She won't have no say in it—Elizabeth's boss at New Moon. Jimmy Murray runs the farm, but he ain't quite all there, I'm told—"

"What part of him isn't there?" asked Emily curiously.

"Laws, it's something about his mind, child. He's a bit simple—some accident or other when he was a youngster, I've heard. It addled his head, kind of. Elizabeth was mixed up in it some way—I've never heard the rights of it. I don't reckon the New Moon people will want to be bothered with you. They're awful set in their ways. You take my advice and try to please your Aunt Ruth. Be polite—and well-behaved—mebbe she'll take a fancy to you. There, that's all the dishes. You'd better go upstairs and be out of the way."

"Can I take Mike and Saucy Sal?" asked Emily.

"No, you can't."

"They'd be company for me," pleaded Emily.

"Company or no company, you can't have them. They're outside and they'll stay outside. I ain't going to have them tracking all over the house. The floor's been scrubbed."

"Why didn't you scrub the floor when Father was alive?" asked Emily. "He liked things to be clean. You hardly ever scrubbed it then. Why do you do it now?"

"Listen to her! Was I to be always scrubbing floors with my rheumatiz? Get off upstairs and you'd better lie down awhile."

"I'm going upstairs, but I'm not going to lie down," said Emily. "I've got a lot of thinking to do."

"There's one thing I'd advise you to do," said Ellen, determined to lose no chance of doing her duty, "and that is to kneel down and pray to God to make you a good and respectful and grateful child."

Emily paused at the foot of the stairs and looked back.

"Father said I wasn't to have anything to do with your God," she said gravely.

Ellen gasped foolishly, but could not think of any reply to this heathenish statement. She appealed to the universe.

"Did any one ever hear the like!"

"I know what your God is like," said Emily. "I saw His picture in that Adam-and-Eve book of yours. He has whiskers and wears a nightgown. I don't like Him. But I like Father's God."

"And what is your father's God like, if I may ask?" demanded Ellen sarcastically.

Emily hadn't any idea what Father's God was like, but she was determined not to be posed by Ellen.

"He is clear as the moon, fair as the sun, and terrible as an army with banners," she said triumphantly.

"Well, you're bound to have the last word, but the Murrays will teach you what's what," said Ellen, giving up the argument. "They're strict Presbyterians and won't hold by any of your father's awful notions. Get off upstairs."

Emily went up to the south room, feeling very desolate.

"There isn't anybody in the world who loves me now," she said, as she curled up on her bed by the window. But she was determined she would not cry. The Murrays, who had hated her father, should not see her crying. She felt that she detested them all—except perhaps Aunt Laura. How very big and empty the world had suddenly become. Nothing was interesting any more. It did not matter that the little squat apple-tree between Adam-and-Eve had become a thing of rose-and-snow beauty—that the hills beyond the hollow were of green silk, purple-misted—that the daffodils were out in the garden—that the birches were hung all over with golden tassels—that the Wind Woman was blowing white young clouds across the sky. None of these things had any charm or consolation for her now. In her inexperience she believed they never would have again.

"But I promised Father I'd be brave," she whispered, clenching her little fists, "and I will. And I won't let the Murrays see I'm afraid of them—I won't be afraid of them!"

When the far-off whistle of the afternoon train blew beyond the hills, Emily's heart began to beat. She clasped her hands and lifted her face.

"Please help me, Father's God—not Ellen's God," she said. "Help me to be brave and not cry before the Murrays."

Soon after there was the sound of wheels below—and voices—loud, decided voices. Then Ellen came puffing up the stairs with the black dress—a sleazy thing of cheap merino.

"Mrs Hubbard just got it done in time, thanks be. I wouldn't 'a' had the Murrays see you not in black for the world. They can't say I haven't done my duty. They're all here—the New Moon people and Oliver and his wife, your Aunt Addie, and Wallace and his wife, your Aunt Eva, and Aunt Ruth—Mrs Dutton, her name is. There, you're ready now. Come along."

"Can't I put my Venetian beads on?" asked Emily.

"Did ever any mortal! Venetian beads with a mourning dress! Shame on you! Is this a time to be thinking of vanity?"

"It isn't vanity!" cried Emily. "Father gave me those beads last Christmas—and I want to show the Murrays that I've got something!"

"No more of your nonsense! Come along, I say! Mind your manners—there's a good deal depends on the impression you make on them."

Emily walked rigidly downstairs before Ellen and into the parlour. Eight people were sitting around it—and she instantly felt the critical gaze of sixteen stranger eyes. She looked very pale and plain in her black dress; the purple shadows left by weeping made her large eyes look too large and hollow. She was desperately afraid, and she knew it—but she would not let the Murrays see it. She held up her head and faced the ordeal before her gallantly.

"This," said Ellen, turning her around by the shoulder, "is your Uncle Wallace."

Emily shuddered and put out a cold hand. She did not like Uncle Wallace—she knew that at once—he was black and grim and ugly, with frowning, bristly brows and a stern, unpitying mouth. He had big pouches under his eyes, and carefully-trimmed black side-whiskers. Emily decided then and there that she did not admire side-whiskers.

"How do you do, Emily?" he said coldly—and just as coldly he bent forward and kissed her cheek.

A sudden wave of indignation swept over Emily's soul. How dared he kiss her—he had hated her father and disowned her mother! She would have none of his kisses! Flash-quick, she snatched her handkerchief from her pocket and wiped her outraged cheek.

"Well—well!" exclaimed a disagreeable voice from the other side of the room.

Uncle Wallace looked as if he would like to say a great many things but couldn't think of them. Ellen, with a grunt of despair, propelled Emily to the next sitter.

"Your Aunt Eva," she said.

Aunt Eva was sitting huddled up in a shawl. She had the fretful face of the imaginary invalid. She shook hands with Emily and said nothing. Neither did Emily.

"Your Uncle Oliver," announced Ellen.

Emily rather liked Uncle Oliver's appearance. He was big and fat and rosy and jolly-looking. She thought she would not mind so much if he kissed her, in spite of his bristly white moustache. But Uncle Oliver had learned Uncle Wallace's lesson.

"I'll give you a quarter for a kiss," he whispered genially. A joke was Uncle Oliver's idea of being kind and sympathetic, but Emily did not know this, and resented it.

"I don't sell my kisses," she said, lifting her head as haughtily as any Murray of them all could do.

Uncle Oliver chuckled and seemed infinitely amused and not a bit offended. But Emily heard a sniff across the room.

Aunt Addie was next. She was as fat and rosy and jolly-looking as her husband and she gave Emily's cold hand a nice, gentle squeeze.

"How are you, dear?" she said.

That "dear" touched Emily and thawed her a trifle. But the next in turn froze her up instantly again. It was Aunt Ruth—Emily knew it was Aunt Ruth before Ellen said so, and she knew it was Aunt Ruth who had "well—welled" and sniffed. She knew the cold, grey eyes, the prim, dull brown hair, the short, stout figure, the thin, pinched, merciless mouth.

Aunt Ruth held out the tips of her fingers, but Emily did not take them.

"Shake hands with your Aunt," said Ellen in an angry whisper.

"She does not want to shake hands with me," said Emily, distinctly, "and so I am not going to do it."

Aunt Ruth folded her scorned hands back on her black silk lap.

"You are a very ill-bred child," she said; "but of course it was only what was to be expected."

Emily felt a sudden compunction. Had she cast a reflection on her father by her behaviour? Perhaps after all she should have shaken hands with Aunt Ruth. But it was too late now—Ellen had already jerked her on.

"This is your Cousin, Mr James Murray," said Ellen, in the disgusted tone of one who gives up something as a bad job and is only anxious to be done with it.

"Cousin Jimmy—Cousin Jimmy," said that individual. Emily looked steadily at him, and liked him at once without any reservations.

He had a little, rosy, elfish face with a forked grey beard; his hair curled over his head in a most un-Murray-like mop of glossy brown; and his large, brown eyes were as kind and frank as a child's. He gave Emily a hearty handshake, though he looked askance at the lady across from him while doing it.

"Hello, pussy!" he said.

Emily began to smile at him, but her smile was, as always, so slow in developing that Ellen had whisked her on before it was in full flower, and it was Aunt Laura who got the benefit of it. Aunt Laura started and paled.

"Juliet's smile!" she said, half under her breath. And again Aunt Ruth sniffed.

Aunt Laura did not look like anyone else in the room. She was almost pretty, with her delicate features and the heavy coils of pale, sleek, fair hair, faintly greyed, pinned closely all around her head. But it was her eyes that won Emily. They were such round blue, blue eyes. One never quite got over the shock of their blueness. And when she spoke it was in a beautiful, soft voice.

"You poor, dear, little child," she said, and put her arm around Emily for a gentle hug.

Emily returned the hug and had a narrow escape then from letting the Murrays see her cry. All that saved her was the fact that Ellen suddenly pushed her on into the corner by the window.

"And this is your Aunt Elizabeth."

Yes, this was Aunt Elizabeth. No doubt about that—and she had on a stiff, black satin dress, so stiff and rich that Emily felt sure it must be her very best. This pleased Emily. Whatever Aunt Elizabeth thought of her father, at least she had paid him the respect of her best dress. And Aunt Elizabeth was quite fine looking in a tall, thin, austere style, with clear-cut features and a massive coronet of iron-grey hair under her black lace cap. But her eyes, though steel-blue, were as cold as Aunt Ruth's, and her long, thin mouth was compressed severely. Under her cool, appraising glance Emily retreated into herself and shut the door of her soul. She would have liked to please Aunt Elizabeth—who was "boss" at New Moon—but she felt she could not do it.

Aunt Elizabeth shook hands and said nothing—the truth being that she did not know exactly what to say. Elizabeth Murray would not have felt "put about" before King or Governor-General. The Murray pride would have carried her through there; but she did feel disturbed in the presence of this alien, level-gazing child who had already shown that she was anything but meek and humble. Though Elizabeth Murray would never have admitted it, she did not want to be snubbed as Wallace and Ruth had been.

"Go and sit on the sofa," ordered Ellen.

Emily sat on the sofa with her eyes cast down, a slight, black, indomitable little figure. She folded her hands on her lap and crossed her ankles. They should see she had manners.

Ellen had retreated to the kitchen, thanking her stars that that was over. Emily did not like Ellen but she felt deserted when Ellen had gone. She was alone now before the bar of Murray opinion. She would have given anything to be out of the room. Yet in the back of her mind a design was forming of writing all about it in the old account-book. It would be interesting. She could describe them all—she knew she could. She had the very word for Aunt Ruth's eyes—"stone-grey." They were just like stones—as hard and cold and relentless. Then a pang tore through her heart. Father could never again read what she wrote in the account-book.

Still—she felt that she would rather like to write it all out. How could she best describe Aunt Laura's eyes? They were such beautiful eyes—just to call them "blue" meant nothing—hundreds of people had blue eyes—oh, she had it—"wells of blue"—that was the very thing.

And then the flash came!

It was the first time since the dreadful night when Ellen had met her on the doorstep. She had thought it could never come again—and now in this most unlikely place and time it had come—she had seen, with other eyes than those of sense, the wonderful world behind the veil. Courage and hope flooded her cold little soul like a wave of rosy light. She lifted her head and looked about her undauntedly—"brazenly" Aunt Ruth afterwards declared.

"Yes, she would write them all out in the account-book—describe every last one of them—sweet Aunt Laura, nice Cousin Jimmy, grim old Uncle Wallace, and moon-faced Uncle Oliver, stately Aunt Elizabeth and detestable Aunt Ruth.

"She's a delicate-looking child," said Aunt Eva, suddenly, in her fretful, colourless voice.

"Well, what else could you expect?" said Aunt Addie, with a sigh that seemed to Emily to hold some dire significance. "She's too pale—if she had a little colour she wouldn't be bad-looking."

"I don't know who she looks like," said Uncle Oliver, staring at Emily.

"She is not a Murray, that is plain to be seen," said Aunt Elizabeth, decidedly and disapprovingly.

"They are talking about me just as if I wasn't here," thought Emily, her heart swelling with indignation over the indecency of it.

"I wouldn't call her a Starr either," said Uncle Oliver. "Seems to me she's more like the Byrds—she's got her grandmother's hair and eyes."

"She's got old George Byrd's nose," said Aunt Ruth, in a tone that left no doubt as to her opinion of George's nose.

"She's got her father's forehead," said Aunt Eva, also disapprovingly.

"She has her mother's smile," said Aunt Laura, but in such a low tone that nobody heard her.

"And Juliet's long lashes—hadn't Juliet very long lashes?" said Aunt Addie.

Emily had reached the limit of her endurance.

"You make me feel as if I was made up of scraps and patches!" she burst out indignantly.

The Murrays stared at her. Perhaps they felt some compunction—for, after all, none of them were ogres and all were human, more or less. Apparently nobody could think of anything to say, but the shocked silence was broken by a chuckle from Cousin Jimmy—a low chuckle, full of mirth and free from malice.

"That's right, puss," he said. "Stand up to them—take your own part."

"Jimmy!" said Aunt Ruth.

Jimmy subsided.

Aunt Ruth looked at Emily.

"When I was a little girl," she said, "I never spoke until I was spoken to."

"But if nobody ever spoke until they were spoken to there would be no conversation," said Emily argumentatively.

"I never answered back," Aunt Ruth went on severely. "In those days little girls were trained properly. We were polite and respectful to our elders. We were taught our place and we kept it."

"I don't believe you ever had much fun," said Emily—and then gasped in horror. She hadn't meant to say that out loud—she had only meant to think it. But she had such an old habit of thinking aloud to Father.

"Fun!" said Aunt Ruth, in a shocked tone. "I did not think of fun when I was a little girl."

"No, I know," said Emily gravely. Her voice and manner were perfectly respectful, for she was anxious to atone for her involuntary lapse. Yet Aunt Ruth looked as if she would like to box her ears. This child was pitying her—insulting her by being sorry for her—because of her prim, impeccable childhood. It was unendurable—especially in a Starr. And that abominable Jimmy was chuckling again! Elizabeth should suppress him!

Fortunately Ellen Greene appeared at this juncture and announced supper.

"You've got to wait," she whispered to Emily. "There ain't room for you at the table."

Emily was glad. She knew she could not eat a bite under the Murray eyes. Her aunts and uncles filed out stiffly without looking at her—all except Aunt Laura, who turned at the door and blew her a tiny, furtive kiss. Before Emily could respond Ellen Greene had shut the door.

Emily was left all alone in the room that was filling with twilight shadows. The pride that had sustained her in the presence of the Murrays suddenly failed her and she knew that tears were coming. She went straight to the closed door at the end of the parlour, opened it, and went in. Her father's coffin stood in the centre of the small room which had been a bedroom. It was heaped with flowers—the Murrays had done the proper thing in that as in all else. The great anchor of white roses Uncle Wallace had brought stood up aggressively on the small table at the head. Emily could not see her father's face for Aunt Ruth's heavily-fragrant pillow of white hyacinths lying on the glass, and she dared not move it. But she curled herself up on the floor and laid her cheek against the polished side of the casket. They found her there asleep when they came in after supper. Aunt Laura lifted her up and said,

"I'm going to take the poor child up to bed—she's worn right out."

Emily opened her eyes and looked drowsily about her.

"Can I have Mike?" she said.

"Who is Mike?"

"My cat—my big grey cat."

"A cat!" exclaimed Aunt Elizabeth in a shocked tone. "You must not have a cat in your bedroom!"

"Why not—for once?" pleaded Laura.

"Certainly not!" said Aunt Elizabeth. "A cat is a most unwholesome thing in a sleeping compartment. I'm surprised at you, Laura! Take the child up to bed and see that there are plenty of bedclothes. It's a cold night—but let me hear no more talk of sleeping with cats."

"Mike is a clean cat," said Emily. "He washes himself—every day."

"Take her up to bed, Laura!" said Aunt Elizabeth, ignoring Emily.

Aunt Laura yielded meekly. She carried Emily upstairs, helped her undress, and tucked her into bed. Emily was very sleepy. But before she was wholly asleep she felt something, soft and warm and purry and companionable, snuggling down by her shoulder. Aunt Laura had sneaked down, found Mike and brought him up to her. Aunt Elizabeth never knew and Ellen Greene dared not say a word in protest—for was not Laura a Murray of New Moon?

Chapter 4 A Family Conclave

Emily wakened at daylight the next morning. Through her low, uncurtained window the splendour of the sunrise was coming in, and one faint, white star was still lingering in the crystal-green sky over the Rooster Pine. A fresh sweet wind of lawn was blowing around the eaves. Ellen Greene was sleeping in the big bed and snoring soundly. Except for that the little house was very still. It was the chance for which Emily had waited.

Very carefully she slipped from her bed, tiptoed across the room and opened the door. Mike uncoiled himself from the mat on the middle of the floor and followed her, rubbing his warm sides against her chilly little ankles. Almost guiltily she crept down the bare, dark staircase. How the steps creaked—surely it would waken everybody! But nobody appeared and Emily got down and slipped into the parlour, drawing a long breath of relief as she closed the door. She almost ran across the room to the other door.

Aunt Ruth's floral pillow still covered the glass of the casket. Emily, with a tightening of the lips that gave her face an odd resemblance to Aunt Elizabeth, lifted up the pillow and set it on the floor.

"Oh, Father—Father!" she whispered, putting her hand to her throat to keep something down. She stood there, a little shivering, white-clad figure, and looked at her father. This was to be her good-bye; she must say it when they were alone together—she would not say it before the Murrays.

Father looked so beautiful. All the lines of pain had vanished—his face looked almost like a boy's except for the silver hair above it. And he was smiling—such a nice, whimsical, wise little smile, as if he had suddenly discovered something lovely and unexpected and surprising. She had seen many nice smiles on his face in life but never one just like this.

"Father, I didn't cry before them," she whispered. "I'm sure I didn't disgrace the Starrs. Not shaking hands with Aunt Ruth wasn't disgracing the Starrs, was it? Because she didn't really want me to—oh, Father, I don't think any of them like me, unless perhaps Aunt Laura does a little. And I'm going to cry a little bit now, Father, because I can't keep it back all the time."

She laid her face on the cold glass and sobbed bitterly but briefly. She must say good-bye before any one found her. Raising her head she looked long and earnestly at the beloved face.

"Good-bye, dearest darling," she whispered chokingly.

Dashing away her blinding tears she replaced Aunt Ruth's pillow, hiding her father's face from her for ever. Then she slipped out, intent on speedily regaining her room. At the door she almost fell over Cousin Jimmy, who was sitting on a chair before it, swathed in a huge, checked dressing-gown, and nursing Mike.

"S-s-h!" he whispered, patting her on the shoulder. "I heard you coming down and followed you. I knew what you wanted. I've been sitting here to keep them out if any of them came after you. Here, take this and hurry back to your bed, small pussy."

"This" was a roll of peppermint lozenges. Emily clutched it and fled, overcome with shame at being seen by Cousin Jimmy in her nightgown. She hated peppermints and never ate them, but the fact of Cousin Jimmy Murray's kindness in giving them to her sent a thrill of delight to her heart. And he called her "small pussy," too—she liked that. She had thought nobody would ever call her nice pet names again. Father had had so many of them for her—"sweetheart" and "darling" and "Emily-child" and "dear wee kidlet" and "honey" and "elfkin." He had a pet name for every mood and she had loved them all. As for Cousin Jimmy, he was nice. Whatever part of him was missing it wasn't his heart. She felt so grateful to him that after she was safely in her bed again she forced herself to eat one of the lozenges, though it took all her grit to worry it down.

The funeral was held that forenoon. For once the lonesome little house in the hollow was filled. The coffin was taken into the parlour and the Murrays as mourners sat stiffly and decorously all round it, Emily among them, pale and prim in her black dress. She sat between Aunt Elizabeth and Uncle Wallace and dared not move a muscle. No other Starr was present. Her father had no near living relatives. The Maywood people came and looked at his dead face with a freedom and insolent curiosity they would never have presumed on in life. Emily hated to have them looking at her father like that. They had no right—they hadn't been friendly to him while he was alive—they had said harsh things of him—Ellen Greene had sometimes repeated them. Every glance that fell on him hurt Emily; but she sat still and gave no outward sign. Aunt Ruth said afterwards that she had never seen a child so absolutely devoid of all natural feeling.

When the service was over the Murrays rose and marched around the coffin for a dutiful look of farewell. Aunt Elizabeth took Emily's hand and tried to draw her along with them, but Emily pulled it back and shook her head. She had said her good-bye already. Aunt Elizabeth seemed for a moment to be on the point of insisting; then she grimly swept onward, alone, looking every inch a Murray. No scene must be made at a funeral.

Douglas Starr was to be taken to Charlottetown for burial beside his wife. The Murrays were all going but Emily was not to go. She watched the funeral procession as it wound up the long, grassy hill, through the light grey rain that was beginning to fall. Emily was glad it was raining; many a time she had heard Ellen Greene say that happy was the corpse the rain fell on; and it was easier to see Father go away in that soft, kind, grey mist than through sparkling, laughing sunshine.

"Well, I must say the funeral went off fine," said Ellen Greene at her shoulder. "Everything's been done regardless. If your father was looking down from heaven at it, Emily, I'm sure he'd be pleased."

"He isn't in heaven," said Emily.

"Good gracious! Of all the children!" Ellen could say no more.

"He isn't there yet. He's only on the way. He said he'd wait around and go slow until I died, too, so that I could catch up with him. I hope I'll die soon."

"That's a wicked, wicked thing to wish," rebuked Ellen.

When the last buggy had disappeared Emily went back to the sitting-room, got a book out of the bookcase, and buried herself in the wing-chair. The women who were tidying up were glad she was quiet and out of the way.

"It's well she can read," said Mrs Hubbard gloomily. "Some little girls couldn't be so composed—Jennie Hood just screamed and shrieked after they carried her mother out—the Hoods are all such a feeling people."

Emily was not reading. She was thinking. She knew the Murrays would be back in the afternoon; and she knew her fate would probably be settled then. "We'll talk the matter over when we come back," she had heard Uncle Wallace saying that morning after breakfast. Some instinct told her just what "the matter" was; and she would have given one of her pointed ears to hear the discussion with the other. But she knew very well she would be sent out of the way. So she was not surprised when Ellen came to her in the twilight and said:

"You'd better go upstairs, Emily. Your aunts and uncles are coming in here to talk over the business."

"Can't I help to get supper?" asked Emily, who thought that if she were going and coming around the kitchen she might catch a word or two.

"No. You'd be more bother than help. March, now."

Ellen waddled out to the kitchen, without waiting to see if Emily marched. Emily got up reluctantly. How could she sleep to-night if she did not know what was going to happen to her? And she felt quite sure she would not be told till morning, if then.

Her eyes fell on the oblong table in the centre of the room. Its cloth was of generous proportions, falling in heavy folds to the floor. There was a flash of black stockings across the rug, a sudden disturbance of drapery, and then—silence. Emily, on the floor under the table, arranged her legs comfortably and sat triumphant. She would hear what was decided and nobody would be any the wiser.

She had never been told that it was not considered strictly honourable to eavesdrop, no occasion for such instruction ever having arisen in her life with her father; and she considered that it was a bit of pure luck that she had thought of hiding under the table. She could even see dimly through the cloth. Her heart beat so loudly in her excitement that she was afraid they would hear it; there was no other sound save the soft, faraway singing of frogs through the rain, that sounded through the open window.

In they came; down they sat around the room; Emily held her breath; for a few minutes nobody spoke, though Aunt Eva sighed long and heavily. Then Uncle Wallace cleared his throat and said,

"Well, what is to be done with the child?"

Nobody was in a hurry to answer. Emily thought they would never speak. Finally Aunt Eva said with a whine,

"She's such a difficult child—so odd. I can't understand her at all."

"I think," said Aunt Laura timidly, "that she has what one might call an artistic temperament."

"She's a spoiled child," said Aunt Ruth very decidedly. "There's work ahead to straighten out her manners, if you ask me."

(The little listener under the table turned her head and shot a scornful glance at Aunt Ruth through the tablecloth. "I think that your own manners have a slight curve." Emily did not dare even to murmur the words under her breath, but she shaped them with her mouth; this was a great relief and satisfaction.)

"I agree with you," said Aunt Eva, "and I for one do not feel equal to the task."

(Emily understood that this meant Uncle Wallace didn't mean to take her and she rejoiced thereat.)

"The truth is," said Uncle Wallace, "Aunt Nancy ought to take her. She has more of this world's goods than any of us."

"Aunt Nancy would never dream of taking her and you know it well enough!" said Uncle Oliver. "Besides, she's entirely too old to have the bringing up of a child—her and that old witch Caroline. Upon my soul, I don't believe either of them is human. I would like to take Emily—but I feel that I can hardly do it. I've a large family to provide for."

"She'll not likely live long to bother anyone," said Aunt Elizabeth crisply. "She'll probably die of consumption same as her father did."

("I won't—I won't!" exclaimed Emily—at least she thought it with such vim that it almost seemed that she exclaimed it. She forgot that she had wanted to die soon, so that she could overtake Father. She wanted to live now, just to put the Murrays in the wrong. "I haven't any intention of dying. I'm going to live—for ages—and be a famous authoress—you'll just see if I don't, Aunt Elizabeth Murray!")

"She is a weedy-looking child," acknowledged Uncle Wallace.

(Emily relieved her outraged feelings by making a face at Uncle Wallace through the tablecloth. "If I ever possess a pig I am going to name it after you," she thought—and then felt quite satisfied with her revenge.)

"Somebody has to look after her as long as she's alive though, you know," said Uncle Oliver.

("It would serve you all right if I did die and you suffered terrible remorse for it all the rest of your lives," Emily thought. Then in the pause that happened to follow, she dramatically pictured out her funeral, selected her pall-bearers, and tried to choose the hymn verse that she wanted engraved on her tombstone. But before she could settle this Uncle Wallace began again.)

"Well, we are not getting anywhere. We have to look after the child—"

("I wish you wouldn't call me 'the child,'" thought Emily bitterly.)

"—and some of us must give her a home. Juliet's daughter must not be left to the mercy of strangers. Personally, I feel that Eva's health is not equal to the care and training of a child—"

"Of such a child," said Aunt Eva.

(Emily stuck out her tongue at Aunt Eva.)

"Poor little soul," said Aunt Laura gently.

(Something frozen in Emily's heart melted at that moment. She was pitifully pleased over being called "poor little soul" so tenderly.)

"I do not think you need pity her overmuch, Laura," said Uncle Wallace decidedly. "It is evident that she has very little feeling. I have not seen her shed a tear since we came here."

"Did you notice that she would not even take a last look at her father?" said Aunt Elizabeth.

Cousin Jimmy suddenly whistled at the ceiling.

"She feels so much that she has to hide it," said Aunt Laura.

Uncle Wallace snorted.

"Don't you think we might take her, Elizabeth?" Laura went on timidly.

Aunt Elizabeth stirred restlessly.

"I don't suppose she'd be contented at New Moon, with three old people like us."

("I would—I would!" thought Emily.)

"Ruth, what about you?" said Uncle Wallace. "You're all alone in that big house. It would be a good thing for you to have some company."

"I don't like her," said Aunt Ruth sharply. "She is as sly as a snake."

("I'm not!" thought Emily.)

"With wise and careful training many of her faults may be cured," said Uncle Wallace, pompously.

("I don't want them cured!" Emily was getting angrier and angrier all the time under the table. "I like my faults better than I do your—your—" she fumbled mentally for a word—then triumphantly recalled a phrase of her father's—"your abominablevirtues!")

"I doubt it," said Aunt Ruth, in a biting tone. "What's bred in the bone comes out in the flesh. As for Douglas Starr, I think that it was perfectly disgraceful for him to die and leave that child without a cent."

"Did he do it on purpose?" asked Cousin Jimmy blandly. It was the first time he had spoken.

"He was a miserable failure," snapped Aunt Ruth.

"He wasn't—he wasn't!" screamed Emily, suddenly sticking her head out under the tablecloth, between the end legs of the table.

For a moment the Murrays sat silent and motionless as if her outburst had turned them to stone. Then Aunt Ruth rose, stalked to the table, and lifted the cloth, behind which Emily had retired in dismay, realizing what she had done.

"Get up and come out of that, Em'ly Starr!" said Aunt Ruth.

"Em'ly Starr" got up and came out. She was not specially frightened—she was too angry to be that. Her eyes had gone black and her cheeks crimson.

"What a little beauty—what a regular little beauty!" said Cousin Jimmy. But nobody heard him. Aunt Ruth had the floor.

"You shameless little eavesdropper!" she said. "There's the Starr blood coming out—a Murray would never have done such a thing. You ought to be whipped!"

"Father wasn't a failure!" cried Emily, choking with anger. "You had no right to call him a failure. Nobody who was loved as much as he was could be a failure. I don't believe anybody ever loved you. So it's you, that's a failure. And I'm not going to die of consumption."

"Do you realize what a shameful thing you have been guilty of?" demanded Aunt Ruth, cold with anger.

"I wanted to hear what was going to become of me," cried Emily. "I didn't know it was such a dreadful thing to do—I didn't know you were going to say such horrid things about me."

"Listeners never hear any good of themselves," said Aunt Elizabeth impressively. "Your mother would never have done that, Emily."

The bravado all went out of poor Emily. She felt guilty and miserable—oh, so miserable. She hadn't known—but it seemed she had committed a terrible sin.

"Go upstairs," said Aunt Ruth.

Emily went, without a protest. But before going she looked around the room.

"While I was under the table," she said, "I made a face at Uncle Wallace and stuck my tongue out at Aunt Eva."

She said it sorrowfully, desiring to make a clean breast of her transgressions; but so easily do we misunderstand each other that the Murrays actually thought that she was indulging in a piece of gratuitous impertinence. When the door had closed behind her they all—except Aunt Laura and Cousin Jimmy—shook their heads and groaned.

Emily went upstairs in a state of bitter humiliation. She felt that she had done something that gave the Murrays the right to despise her, and they thought it was the Starr coming out in her—and she had not even found out what her fate was to be.

She looked dismally at little Emily-in-the-glass.

"I didn't know—I didn't know," she whispered. "But I'll know after this," she added with sudden vim, "and I'll never, never do it again."

For a moment she thought she would throw herself on her bed and cry. She couldn't bear all the pain and shame that was burning in her heart. Then her eyes fell on the old yellow account-book on her little table. A minute later Emily was curled up on her bed, Turk-fashion, writing eagerly in the old book with her little stubby lead-pencil. As her fingers flew over the faded lines her cheeks flushed and her eyes shone. She forgot the Murrays although she was writing about them—she forgot her humiliation—although she was describing what had happened; for an hour she wrote steadily by the wretched light of her smoky little lamp, never pausing, save now and then, to gaze out of the window into the dim beauty of the misty night, while she hunted through her consciousness for a certain word she wanted; when she found it she gave a happy sigh and fell to again.

When she heard the Murrays coming upstairs she put her book away. She had finished; she had written a description of the whole occurrence and of that conclave ring of Murrays, and she had wound up by a pathetic description of her own deathbed, with the Murrays standing around imploring her forgiveness. At first she depicted Aunt Ruth as doing it on her knees in an agony of remorseful sobs. Then she suspended her pencil—"Aunt Ruth couldn't ever feel as bad as that over anything," she thought—and drew her pencil through the line.

In the writing, pain and humiliation had passed away. She only felt tired and rather happy. It had been fun, finding words to fit Uncle Wallace; and what exquisite satisfaction it had been to describe Aunt Ruth as "a dumpy little woman."

"I wonder what my uncles and aunts would say if they knew what I really think of them," she murmured as she got into bed.

 

Chapter 5 Diamond Cut Diamond

Emily, who had been pointedly ignored by the Murrays at breakfast, was called into the parlour when the meal was over.

They were all there—the whole phalanx of them—and it occurred to Emily as she looked at Uncle Wallace, sitting in the spring sunshine, that she had not just found the exact word after all to express his peculiar quality of grimness.

Aunt Elizabeth stood unsmilingly by the table with slips of paper in her hand.

"Emily," she said, "last night we could not decide who should take you. I may say that none of us feel very much like doing so, for you have behaved very badly in many respects—"

"Oh, Elizabeth—" protested Laura. "She—she is our sister's child."

Elizabeth lifted a hand regally.

"I am doing this, Laura. Have the goodness not to interrupt me. As I was saying, Emily, we could not decide as to who should have the care of you. So we have agreed to Cousin Jimmy's suggestion that we settle the matter by lot. I have our names here, written on these slips of paper. You will draw one and the one whose name is on it will give you a home."

Aunt Elizabeth held out the slips of paper. Emily trembled so violently that at first she could not draw one. This was terrible—it seemed as if she must blindly settle her own fate.

"Draw," said Aunt Elizabeth.

Emily set her teeth, threw back her head with the air of one who challenges destiny, and drew. Aunt Elizabeth took the slip from the little shaking hand and held it up. On it was her own name—"Elizabeth Murray." Laura Murray suddenly put her handkerchief to her eyes.

"Well, that's settled," said Uncle Wallace, getting up with an air of relief. "And if I'm going to catch that train I've got to hurry. Of course, as far as the matter of expense goes, Elizabeth, I'll do my share."

"We are not paupers at New Moon," said Aunt Elizabeth rather coldly. "Since it has fallen to me to take her, I shall do all that is necessary, Wallace. I do not shirk my duty."

"I am her duty," thought Emily. "Father said nobody ever liked a duty. So Aunt Elizabeth will never like me."

"You've got more of the Murray pride than all the rest of us put together, Elizabeth," laughed Uncle Wallace.

They all followed him out—all except Aunt Laura. She came up to Emily, standing alone in the middle of the room, and drew her into her arms.

"I'm so glad, Emily—I'm so glad," she whispered. "Don't fret, dear child. I love you already—and New Moon is a nice place, Emily."

"It has—a pretty name," said Emily, struggling for self-control. "I've—always hoped—I could go with you, Aunt Laura. I think I am going to cry—but it's not because I'm sorry I'm going there. My manners are not as bad as you may think, Aunt Laura—and I wouldn't have listened last night if I'd known it was wrong."

"Of course you wouldn't," said Aunt Laura.

"But I'm not a Murray, you know."

Then Aunt Laura said a queer thing—for a Murray.

"Thank heaven for that!" said Aunt Laura.

Cousin Jimmy followed Emily out and overtook her in the little hall. Looking carefully around to ensure privacy, he whispered.

"Your Aunt Laura is a great hand at making an apple turnover, pussy."

Emily thought apple turnover sounded nice, though she did not know what it was. She whispered back a question which she would never have dared ask Aunt Elizabeth or even Aunt Laura.

"Cousin Jimmy, when they make a cake at New Moon, will they let me scrape out the mixing-bowl and eat the scrapings?"

"Laura will—Elizabeth won't," whispered Cousin Jimmy solemnly.

"And put my feet in the oven when they get cold? And have a cooky before I go to bed?"

"Answer same as before," said Cousin Jimmy. "I'll recite my poetry to you. It's very few people I do that for. I've composed a thousand poems. They're not written down—I carry them here." Cousin Jimmy tapped his forehead.

"Is it very hard to write poetry?" asked Emily, looking with new respect at Cousin Jimmy.

"Easy as rolling off a log if you can find enough rhymes," said Cousin Jimmy.

They all went away that morning except the New Moon people. Aunt Elizabeth announced that they would stay until the next day to pack up and take Emily with them.

"Most of the furniture belongs to the house," she said, "so it won't take us long to get ready. There are only Douglas Starr's books and his few personal belongings to pack."

"How shall I carry my cats?" asked Emily anxiously.

Aunt Elizabeth stared.

"Cats! You'll take no cats, miss."

"Oh, I must take Mike and Saucy Sal!" cried Emily wildly. "I can't leave them behind. I can't live without a cat."

"Nonsense! There are barn cats at New Moon, but they are never allowed in the house."

"Don't you like cats?" asked Emily wonderingly.

"No, I do not."

"Don't you like the feel of a nice, soft, fat cat?" persisted Emily.

"No; I would as soon touch a snake."

"There's a lovely old wax doll of your mother's up there," said Aunt Laura. "I'll dress it up for you."

"I don't like dolls—they can't talk," exclaimed Emily.

"Neither can cats."

"Oh, can't they! Mike and Saucy Sal can. Oh, I must take them. Oh, please, Aunt Elizabeth. I love those cats. And they're the only things left in the world that love me. Please!"

"What's a cat more or less on two hundred acres?" said Cousin Jimmy, pulling his forked beard. "Take 'em along, Elizabeth."

Aunt Elizabeth considered for a moment. She couldn't understand why anybody should want a cat. Aunt Elizabeth was one of those people who never do understand anything unless it is told them in plain language and hammered into their heads. Andthen they understand it only with their brains and not with their hearts.

"You may take one of your cats," she said at last, with the air of a person making a great concession. "One—and no more. No, don't argue. You may as well learn first as last, Emily, that when I say a thing I mean it. That's enough, Jimmy."

Cousin Jimmy bit off something he had tried to say, stuck his hands in his pockets, and whistled at the ceiling.

"When she won't, she won't—Murray-like. We're all born with that kink in us, small pussy, and you'll have to put up with it—more by token that you're full of it yourself, you know. Talk about your not being Murray! The Starr is only skin deep with you."

"It isn't—I'm all Starr—I want to be," cried Emily. "And, oh, how can I choose between Mike and Saucy Sal?"

This was indeed a problem. Emily wrestled with it all day, her heart bursting. She liked Mike best—there was no doubt of that; but she couldn't leave Saucy Sal to Ellen's tender mercies. Ellen had always hated Sal; but she rather liked Mike and she would be good to him. Ellen was going back to her own little house in Maywood village and she wanted a cat. At last in the evening, Emily made her bitter decision. She would take Saucy Sal.

"Better take the Tom," said Cousin Jimmy. "Not so much bother with kittens you know, Emily."

"Jimmy!" said Aunt Elizabeth sternly. Emily wondered over the sternness. Why weren't kittens to be spoken of? But she didn't like to hear Mike called "the Tom." It sounded insulting, someway.

And she didn't like the bustle and commotion of packing up. She longed for the old quiet and the sweet, remembered talks with her father. She felt as if he had been thrust far away from her by this influx of Murrays.

"What's this?" said Aunt Elizabeth suddenly, pausing for a moment in her packing. Emily looked up and saw with dismay that Aunt Elizabeth had in her hands the old account-book—that she was opening it—that she was reading in it. Emily sprang across the floor and snatched the book.

"You mustn't read that, Aunt Elizabeth," she cried indignantly, "that's mine—my own private property."

"Hoity-toity, Miss Starr," said Aunt Elizabeth, staring at her, "let me tell you that I have a right to read your books. I am responsible for you now. I am not going to have anything hidden or underhanded, understand that. You have evidently something there that you are ashamed to have seen and I mean to see it. Give me that book."

"I'm not ashamed of it," cried Emily, backing away, hugging her precious book to her breast. "But I won't let you—or anybody—see it."

Aunt Elizabeth followed.

"Emily Starr, do you hear what I say? Give me that book—at once."

"No—no!" Emily turned and ran. She would never let Aunt Elizabeth see that book. She fled to the kitchen stove—she whisked off a cover—she crammed the book into the glowing fire. It caught and blazed merrily. Emily watched it in agony. It seemed as if part of herself were burning there. But Aunt Elizabeth should never see it—see all the little things she had written and read to Father—all her fancies about the Wind Woman—and Emily-in-the-glass—all her little cat dialogues—all the things she had said in it last night about the Murrays. She watched the leaves shrivel and shudder, as if they were sentient things, and then turn black. A line of white writing came out vividly on one. "Aunt Elizabeth is very cold and hawty." What if Aunt Elizabeth had seen that? What if she were seeing it now! Emily glanced apprehensively over her shoulder. No, Aunt Elizabeth had gone back to the room and shut the door with what, in anybody but a Murray, would have been called a bang. The account-book was a little heap of white film on the glowing coals. Emily sat down by the stove and cried. She felt as if she had lost something incalculably precious. It was terrible to think that all those dear things were gone. She could never write them again—not just the same; and if she could she wouldn't dare—she would never dare to write anything again, if Aunt Elizabeth must see everything. Father never insisted on seeing them. She liked to read them to him—but if she hadn't wanted to do it he would never have made her. Suddenly Emily, with tears glistening on her cheeks, wrote a line in an imaginary account-book.

"Aunt Elizabeth is cold and hawty; and she is not fair."

Next morning, while Cousin Jimmy was tying the boxes at the back of the double-seated buggy, and Aunt Elizabeth was giving Ellen her final instructions, Emily said good-bye to everything—to the Rooster Pine and Adam-and-Eve—"they'll miss me so when I'm gone; there won't be any one here to love them," she said wistfully—to the spider crack in the kitchen window—to the old wing-chair—to the bed of striped grass—to the silver birch-ladies. Then she went upstairs to the window of her own old room. That little window had always seemed to Emily to open on a world of wonder. In the burned account-book there had been one piece of which she was especially proud. "A deskripshun of the vew from my Window." She had sat there and dreamed; at night she used to kneel there and say her little prayers. Sometimes the stars shone through it—sometimes the rain beat against it—sometimes the little greybirds and swallows visited it—sometimes airy fragrances floated in from apple and lilac blossom—sometimes the Wind Woman laughed and sighed and sang and whistled round it—Emily had heard her there in the dark nights and in wild, white winter storms. She did not say good-bye to the Wind Woman, for she knew the Wind Woman would be at New Moon, too; but she said good-bye to the little window and the green hill she had loved, and to her fairy-haunted barrens and to little Emily-in-the-glass. There might be another Emily-in-the-glass at New Moon, but she wouldn't be the same one. And she unpinned from the wall and stowed away in her pocket the picture of the ball dress she had cut from a fashion sheet. It was such a wonderful dress—all white lace and wreaths of rosebuds, with a long, long train of lace flounces that must reach clear across a room. Emily had pictured herself a thousand times wearing that dress, sweeping, a queen of beauty, across a ballroom door.

Downstairs they were waiting for her. Emily said good-bye to Ellen Greene rather indifferently—she had never liked Ellen Greene at any time, and since the night Ellen had told her her father was going to die she had hated and feared her.

Ellen amazed Emily by bursting into tears and hugging her—begging her not to forget her—asking her to write to her—calling her "my blessed child."

"I am not your blessed child," said Emily, "but I will write to you. And will you be very good to Mike?"

"I b'lieve you feel worse over leaving that cat than you do over leaving me," sniffed Ellen.

"Why, of course I do," said Emily, amazed that there could be any question about it.

It took all her resolution not to cry when she bade farewell to Mike, who was curled up on the sun-warm grass at the back door.

"Maybe I'll see you again sometime," she whispered as she hugged him. "I'm sure good pussy cats go to heaven."

Then they were off in the double-seated buggy with its fringed canopy, always affected by the Murrays of New Moon. Emily had never driven in anything so splendid before. She had never had many drives. Once or twice her father had borrowed Mr Hubbard's old buckboard and grey pony and driven to Charlottetown. The buckboard was rattly and the pony slow, but Father had talked to her all the way and made the road a wonder.

Cousin Jimmy and Aunt Elizabeth sat in front, the latter very imposing in black lace bonnet and mantle. Aunt Laura and Emily occupied the seat behind, with Saucy Sal between them in a basket, shrieking piteously.

Emily glanced back as they drove up the grassy lane, and thought the little, old, brown house in the hollow had a brokenhearted look. She longed to run back and comfort it. In spite of her resolution, the tears came into her eyes; but Aunt Laura put a kid-gloved hand across Sal's basket and caught Emily's in a close, understanding squeeze.

"Oh, I just love you, Aunt Laura," whispered Emily.

And Aunt Laura's eyes were very, very blue and deep and kind.

Chapter 6 New Moon

Emily found the drive through the blossomy June world pleasant. Nobody talked much; even Saucy Sal had subsided into the silence of despair; now and then Cousin Jimmy made a remark, more to himself, as it seemed, than to anybody else. Sometimes Aunt Elizabeth answered it, sometimes not. She always spoke crisply and used no unnecessary words.

They stopped in Charlottetown and had dinner. Emily, who had had no appetite since her father's death, could not eat the roast beef which the boarding-house waitress put before her. Whereupon Aunt Elizabeth whispered mysteriously to the waitress who went away and presently returned with a plateful of delicate cold chicken—fine white slices, beautifully trimmed with lettuce frills.

"Can you eat that?" said Aunt Elizabeth sternly, as to a culprit at the bar.

"I'll—try," whispered Emily.

She was too frightened just then to say more, but by the time she had forced down some of the chicken she had made up her small mind that a certain matter must be put right.

"Aunt Elizabeth," she said.

"Hey, what?" said Aunt Elizabeth, directing her steel-blue eyes straight at her niece's troubled ones.

"I would like you to understand," said Emily, speaking very primly and precisely so that she would be sure to get things right, "that it was not because I did not like the roast beef I did not eat it. I was not hungry at all; and I just et some of the chicken to oblige you, not because I liked it any better."

"Children should eat what is put before them and never turn up their noses at good, wholesome food," said Aunt Elizabeth severely. So Emily felt that Aunt Elizabeth had not understood after all and she was unhappy about it.

After dinner Aunt Elizabeth announced to Aunt Laura that they would do some shopping.

"We must get some things for the child," she said.

"Oh, please don't call me 'the child,'" exclaimed Emily. "It makes me feel as if I didn't belong anywhere. Don't you like my name, Aunt Elizabeth? Mother thought it so pretty. And I don't need any 'things.' I have two whole sets of underclothes—only one is patched—"

"S-s-sh!" said Cousin Jimmy, gently kicking Emily's shins under the table.

Cousin Jimmy only meant that it would be better if she let Aunt Elizabeth buy "things" for her when she was in the humour for it; but Emily thought he was rebuking her for mentioning such matters as underclothes and subsided in scarlet confusion. Aunt Elizabeth went on talking to Laura as if she had not heard.

"She must not wear that cheap black dress in Blair Water. You could sift oatmeal through it. It is nonsense expecting a child of ten to wear black at all. I shall get her a nice white dress with a black sash for good, and some black-and-white-check gingham for school. Jimmy, we'll leave the child with you. Look after her."

Cousin Jimmy's method of looking after her was to take her to a restaurant down street and fill her up with ice-cream. Emily had never had many chances at ice-cream and she needed no urging, even with lack of appetite, to eat two saucerfuls. Cousin Jimmy eyed her with satisfaction.

"No use my getting anything for you that Elizabeth could see," he said. "But she can't see what is inside of you. Make the most of your chance, for goodness alone knows when you'll get any more."

"Do you never have ice-cream at New Moon?"

Cousin Jimmy shook his head.

"Your Aunt Elizabeth doesn't like new-fangled things. In the house, we belong to fifty years ago, but on the farm she has to give way. In the house—candles; in the dairy, her grandmother's big pans to set the milk in. But, pussy, New Moon is a pretty good place after all. You'll like it some day."

"Are there any fairies there?" asked Emily, wistfully.

"The woods are full of 'em," said Cousin Jimmy. "And so are the columbines in the old orchard. We grow columbines there on purpose for the fairies."

Emily sighed. Since she was eight she had known there were no fairies anywhere nowadays; yet she hadn't quite given up the hope that one or two might linger in old-fashioned, out-of-the-way spots. And where so likely as at New Moon?"

"Really-truly fairies?" she questioned.

"Why, you know, if a fairy was really-truly it wouldn't be a fairy," said Cousin Jimmy seriously. "Could it, now?"

Before Emily could think this out the aunts returned and soon they were all on the road again. It was sunset when they came to Blair Water—a rosy sunset that flooded the long, sandy sea-coast with colour and brought red road and fir-darkened hill out in fleeting clearness of outline. Emily looked about her on her new environment and found it good. She saw a big house peering whitely through a veil of tall old trees—no mushroom growth of yesterday's birches but trees that had loved and been loved by three generations—a glimpse of silver water glistening through the dark spruces—that was the Blair Water itself, she knew—and a tall, golden-white church spire shooting up above the maple woods in the valley below. But it was none of these that brought her the flash—that came with the sudden glimpse of the dear, friendly, little dormer window peeping through vines on the roof—and right over it, in the opalescent sky, a real new moon, golden and slender. Emily was tingling all over with it as Cousin Jimmy lifted her from the buggy and carried her into the kitchen.

She sat on a long wooden bench that was satin-smooth with age and scrubbing, and watched Aunt Elizabeth lighting candles here and there, in great, shining, brass candlesticks—on the shelf between the windows, on the high dresser where the row of blue and white plates began to wink her a friendly welcome, on the long table in the corner. And as she lighted them, elvish "rabbits' candles" flashed up amid the trees outside the windows.

Emily had never seen a kitchen like this before. It had dark wooden walls and low ceiling, with black rafters crossing it, from which hung hams and sides of bacon and bunches of herbs and new socks and mittens, and many other things, the names and uses of which Emily could not imagine. The sanded floor was spotlessly white, but the boards had been scrubbed away through the years until the knots in them stuck up all over in funny little bosses, and in front of the stove they had sagged, making a queer, shallow little hollow. In one corner of the ceiling was a large square hole which looked black and spookish in the candlelight, and made her feel creepy. Something might pop down out of a hole like that if one hadn't behaved just right, you know. And candles cast such queer wavering shadows. Emily didn't know whether she liked the New Moon kitchen or not. It was an interesting place—and she rather thought she would like to describe it in the old account-book, if it hadn't been burned—but Emily suddenly found herself trembling on the verge of tears.

"Cold?" said Aunt Laura kindly. "These June evenings are chilly yet. Come into the sitting-room—Jimmy has kindled a fire in the stove there."

Emily, fighting desperately for self-control, went into the sitting-room. It was much more cheerful than the kitchen. The floor was covered with gay-striped homespun, the table had a bright crimson cloth, the walls were hung with pretty, diamond-patterned paper, the curtains were of wonderful pale-red damask with a design of white ferns scattered all over them. They looked very rich and imposing and Murray-like. Emily had never seen such curtains before. But best of all were the friendly gleams and flickers from the jolly hardwood fire in the open stove that mellowed the ghostly candlelight with something warm and rosy-golden. Emily toasted her toes before it and felt reviving interest in her surroundings. What lovely little leaded glass doors closed the china closets on either side of the high, black, polished mantel! What a funny, delightful shadow the carved ornament on the sideboard cast on the wall behind it—just like a negro's side-face, Emily decided. What mysteries might lurk behind the chintz-lined glass doors of the bookcase! Books were Emily's friends wherever she found them. She flew over to the bookcase and opened the door. But before she could see more than the backs of rather ponderous volumes, Aunt Elizabeth came in, with a mug of milk and a plate whereon lay two little oatmeal cakes.

"Emily," said Aunt Elizabeth sternly, "shut that door. Remember that after this you are not to meddle with things that don't belong to you."

"I thought books belonged to everybody," said Emily.

"Ours don't," said Aunt Elizabeth, contriving to convey the impression that New Moon books were in a class by themselves. "Here is your supper, Emily. We are all so tired that we are just having a lunch. Eat it and then we will go to bed."

Emily drank the milk and worried down the oatcakes, still gazing about her. How pretty the wallpaper was, with the garland of roses inside the gilt diamond! Emily wondered if she could "see it in the air." She tried—yes, she could—there it hung, a yard from her eyes, a little fairy pattern, suspended in mid-air like a screen. Emily had discovered that she possessed this odd knack when she was six. By a certain movement of the muscles of her eyes, which she could never describe, she could produce a tiny replica of the wallpaper in the air before her—could hold it there and look at it as long as she liked—could shift it back and forth, to any distance she chose, making it larger or smaller as it went farther away or came nearer. It was one of her secret joys when she went into a new room anywhere to "see the paper in the air." And this New Moon paper made the prettiest fairy paper she had ever seen.

"What are you staring at nothing in that queer way for?" demanded Aunt Elizabeth, suddenly returning.

Emily shrank into herself. She couldn't explain to Aunt Elizabeth—Aunt Elizabeth would be like Ellen Greene and say she was "crazy."

"I—I wasn't staring at anything."

"Don't contradict. I say you were," retorted Aunt Elizabeth. "Don't do it again. It gives your face an unnatural expression. Come now—we will go upstairs. You are to sleep with me."

Emily gave a gasp of dismay. She had hoped it might be with Aunt Laura. Sleeping with Aunt Elizabeth seemed a very formidable thing. But she dared not protest. They went up to Aunt Elizabeth's big, sombre bedroom where there was dark, grim wallpaper that could never be transformed into a fairy curtain, a high black bureau, topped with a tiny swing-mirror, so far above her that there could be no Emily-in-the-glass, tightly closed windows with dark-green curtains, a high bedstead with a dark-green canopy, and a huge, fat, smothering feather-bed, with high, hard pillows.

Emily stood still, gazing about her.

"Why don't you get undressed?" asked Aunt Elizabeth.

"I—I don't like to undress before you," faltered Emily.

Aunt Elizabeth looked at Emily through her cold, spectacled eyes.

"Take off your clothes, at once," she said.

Emily obeyed, tingling with anger and shame. It was abominable—taking off her clothes while Aunt Elizabeth stood and watched her. The outrage of it was unspeakable. It was even harder to say her prayers before Aunt Elizabeth. Emily felt that it was not much good to pray under such circumstances. Father's God seemed very far away and she suspected that Aunt Elizabeth's was too much like Ellen Greene's.

"Get into bed," said Aunt Elizabeth, turning down the clothes.

Emily glanced at the shrouded window.

"Aren't you going to open the window, Aunt Elizabeth?"

Aunt Elizabeth looked at Emily as if the latter had suggested removing the roof.

"Open the window—and let in the night air!" she exclaimed. "Certainly not!"

"Father and I always had our window open," cried Emily.

"No wonder he died of consumption," said Aunt Elizabeth. "Night air is poison."

"What air is there at night but night air?" asked Emily.

"Emily," said Aunt Elizabeth icily, "get—into—bed."

Emily got in.

But it was utterly impossible to sleep, lying there in that engulfing bed that seemed to swallow her up, with that cloud of blackness above her and not a gleam of light anywhere—and Aunt Elizabeth lying beside her, long and stiff and bony.

"I feel as if I was in bed with a griffin," thought Emily. "Oh—oh—oh—I'm going to cry—I know I am."

Desperately and vainly she strove to keep the tears back—they would come. She felt utterly alone and lonely—there in that darkness, with an alien, hostile world all around her—for it seemed hostile now. And there was such a strange, mysterious, mournful sound in the air—far away, yet clear. It was the murmur of the sea, but Emily did not know that and it frightened her. Oh, for her little bed at home—oh, for Father's soft breathing in the room—oh, for the dancing friendliness of well-known stars shining down through her open window! She must go back—she couldn't stay here—she would never be happy here! But there wasn't any "back" to go to—no home—no father—. A great sob burst from her—another followed and then another. It was no use to clench her hands and set her teeth—and chew the inside of her cheeks—nature conquered pride and determination and had her way.

"What are you crying for?" asked Aunt Elizabeth.

To tell the truth Aunt Elizabeth felt quite as uncomfortable and disjointed as Emily did. She was not used to a bedfellow; she didn't want to sleep with Emily any more than Emily wanted to sleep with her. But she considered it quite impossible that the child should be put off by herself in one of the big, lonely New Moon rooms; and Laura was a poor sleeper, easily disturbed; children always kicked, Elizabeth Murray had heard. So there was nothing to do but take Emily in with her; and when she had sacrificed comfort and inclination to do her unwelcome duty this ungrateful and unsatisfactory child was not contented.

"I asked you what you were crying for, Emily?" she repeated.

"I'm—homesick, I guess," sobbed Emily.

Aunt Elizabeth was annoyed.

"A nice home you had to be homesick for," she said sharply.

"It—it wasn't as elegant—as New Moon," sobbed Emily, "but—Father was there. I guess I'm Fathersick, Aunt Elizabeth. Didn't you feel awfully lonely when your father died?"

Elizabeth Murray involuntarily remembered the ashamed, smothered feeling of relief when old Archibald Murray had died—the handsome, intolerant, autocratic old man who had ruled his family with a rod of iron all his life and had made existence at New Moon miserable with the petulant tyranny of the five years of invalidism that had closed his career. The surviving Murrays had behaved impeccably, and wept decorously, and printed a long and flattering obituary. But had one genuine feeling of regret followed Archibald Murray to his tomb? Elizabeth did not like the memory and was angry with Emily for evoking it.

"I was resigned to the will of Providence," she said coldly. "Emily, you must understand right now that you are to be grateful and obedient and show your appreciation of what is being done for you. I won't have tears and repining. What would you have done if you had no friends to take you in? Answer me that."

"I suppose I would have starved to death," admitted Emily—instantly beholding a dramatic vision of herself lying dead, looking exactly like the pictures she had seen in one of Ellen Greene's missionary magazines depicting the victims of an Indian famine.

"Not exactly—but you would have been sent to some orphanage where you would have been half-starved, probably. You little know what you have escaped. You have come to a good home where you will be cared for and educated properly."

Emily did not altogether like the sound of being "educated properly." But she said humbly,

"I know it was very good of you to bring me to New Moon, Aunt Elizabeth. And I won't bother you long, you know. I'll soon be grown-up and able to earn my own living. What do you think is the earliest age a person can be called grown-up, Aunt Elizabeth?"

"You needn't think about that," said Aunt Elizabeth shortly. "The Murray women have never been under any necessity for earning their own living. All we require of you is to be a good and contented child and to conduct yourself with becoming prudence and modesty."

This sounded terribly hard.

"I will be," said Emily, suddenly determining to be heroic, like the girl in the stories she had read. "Perhaps it won't be so very hard after all, Aunt Elizabeth,"—Emily happened at this point to recall a speech she had heard her father use once, and thought this a good opportunity to work it in—"because, you know, God is good and the devil might be worse."

Poor Aunt Elizabeth! To have a speech like that fired at her in the darkness of the night from that unwelcome little interloper into her orderly life and peaceful bed! Was it any wonder that for a moment or so she was too paralysed to reply! Then she exclaimed in tones of horror, "Emily, never say that again!"

"All right," said Emily meekly. "But," she added defiantly under her breath, "I'll go on thinking it."

"And now," said Aunt Elizabeth, "I want to say that I am not in the habit of talking all night if you are. I tell you to go to sleep, and I expect you to obey me. Good night."

The tone of Aunt Elizabeth's good night would have spoiled the best night in the world. But Emily lay very still and sobbed no more, though the noiseless tears trickled down her cheeks in the darkness for some time. She lay so still that Aunt Elizabeth imagined she was asleep and went to sleep herself.

"I wonder if anybody in the world is awake but me," thought Emily, feeling a sickening loneliness. "If I only had Saucy Sal here! She isn't so cuddly as Mike but she'd be better than nothing. I wonder where she is. I wonder if they gave her any supper."

Aunt Elizabeth had handed Sal's basket to Cousin Jimmy with an impatient, "Here—look to this cat," and Jimmy had carried it off. Where had he put it? Perhaps Saucy Sal would get out and go home—Emily had heard cats always went back home. She wished she could get out and go home—she pictured herself and her cat running eagerly along the dark, starlit roads to the little house in the hollow—back to the birches and Adam-and-Eve and Mike, and the old wing-chair and her dear little cot and the open window where the Wind Woman sang to her and at dawn one could see the blue of the mist on the homeland hills.

"Will it ever be morning?" thought Emily. "Perhaps things won't be so bad in the morning."

And then—she heard the Wind Woman at the window—she heard the little, low, whispering murmur of the June night breeze—cooing, friendly, lovesome.

"Oh, you're out there, are you, dearest one?" she whispered, stretching out her arms. "Oh, I'm so glad to hear you. You're such company, Wind Woman. I'm not lonesome any more. And the flash came, too! I was afraid it might never come at New Moon."

Her soul suddenly escaped from the bondage of Aunt Elizabeth's stuffy feather-bed and gloomy canopy and sealed windows. She was out in the open with the Wind Woman and the other gipsies of the night—the fireflies, the moths, the brooks, the clouds. Far and wide she wandered in enchanted reverie until she coasted the shore of dreams and fell soundly asleep on the fat, hard pillow, while the Wind Woman sang softly and luringly in the vines that clustered over New Moon.

Chapter 7 The Book of Yesterday

That first Saturday and Sunday at New Moon always stood out in Emily's memory as a very wonderful time, so crowded was it with new and generally delightful impressions. If it be true that we "count time by heart throbs" Emily lived two years in it instead of two days. Everything was fascinating from the moment she came down the long, polished staircase into the square hall that was filled with a soft, rosy light coming through the red glass panes of the front door. Emily gazed through the panes delightedly. What a strange, fascinating, red world she beheld, with a weird red sky that looked, she thought, as if it belonged to the Day of Judgment.

There was a certain charm about the old house which Emily felt keenly and responded to, although she was too young to understand it. It was a house which aforetime had had vivid brides and mothers and wives, and the atmosphere of their loves and lives still hung around it, not yet banished by the old-maidishness of the regime of Elizabeth and Laura.

"Why—I'm going to love New Moon," thought Emily, quite amazed at the idea.

Aunt Laura was setting the breakfast table in the kitchen, which seemed quite bright and jolly in the glow of morning sunshine. Even the black hole in the ceiling had ceased to be spookish and become only a commonplace entrance to the kitchen loft. And on the red-sandstone doorstep Saucy Sal was sitting, preening her fur as contentedly as if she had lived at New Moon all her life. Emily did not know it, but Sal had already drunk deep the delight of battle with her peers that morning and taught the barn cats their place once and for all. Cousin Jimmy's big yellow Tom had got a fearful drubbing, and was minus several bits of his anatomy, while a stuck-up, black lady-cat, who fancied herself considerably, had made up her mind that if that grey-and-white, narrow-faced interloper from goodness knew where was going to stay at New Moon, she was not.

Emily gathered Sal up in her arms and kissed her joyously, to the horror of Aunt Elizabeth, who was coming across the platform from the cook-house with a plate of sizzling bacon in her hands.

"Don't ever let me see you kissing a cat again," she ordered.

"Oh, all right," agreed Emily cheerfully, "I'll only kiss her when you don't see me after this."

"I don't want any of your pertness, miss. You are not to kiss cats at all."

"But Aunt Elizabeth, I didn't kiss her on her mouth, of course. I just kissed her between her ears. It's nice—won't you just try it for once and see for yourself?"

"That will do, Emily. You have said quite enough." And Aunt Elizabeth sailed on into the kitchen majestically, leaving Emily momentarily wretched. She felt that she had offended Aunt Elizabeth, and she hadn't the least notion why or how.

But the scene before her was too interesting to worry long about Aunt Elizabeth. Delicious smells were coming from the cook-house—a little, slant-roofed building at the corner where the big cooking-stove was placed in summer. It was thickly overgrown with hop vines, as most of the New Moon buildings were. To the right was the "new" orchard, very wonderful now in blossom, but a rather commonplace spot after all, since Cousin Jimmy cultivated it in most up-to-date fashion and had grain growing in the wide spaces between the straight rows of trees that looked all alike. But on the other side of the barn lane, just behind the well, was the "old orchard," where Cousin Jimmy said the columbines grew and which seemed to be a delightful place where trees had come up at their own sweet will, and grown into individual shapes and sizes, where blue-eyed ivy twined about their roots and wild-briar roses rioted over the grey paling fence. Straight ahead, closing the vista between the orchards, was a little slope covered with huge white birches, among which were the big New Moon barns, and beyond the new orchard a little, lovable red road looped lightly up and up, over a hill, until it seemed to touch the vivid blue of the sky.

Cousin Jimmy came down from the barns, carrying brimming pails of milk, and Emily ran with him to the dairy behind the cook-house. Such a delightful spot she had never seen or imagined. It was a snow-white little building in a clump of tall balm-of-gileads. Its grey roof was dotted over with cushions of moss like fat green-velvet mice. You went down six sand-stone steps with ferns crowding about them, and opened a white door with a glass panel in it, and went down three more steps. And then you were in a clean, earthy-smelling, damp, cool place with an earthen floor and windows screened by the delicate emerald of young hop vines, and broad wooden shelves all around, whereon stood wide, shallow pans of glossy brown ware, full of milk coated over with cream so rich that it was positively yellow.

Aunt Laura was waiting for them and she strained the milk into empty pans and then skimmed some of the full ones. Emily thought skimming was a lovely occupation and longed to try her hand at it. She also longed to sit right down and write a description of that dear dairy; but alas, there was no account-book; still, she could write it in her head. She squatted down on a little three-legged stool in a dim corner and proceeded to do it, sitting so still that Jimmy and Laura forgot her and went away and later had to hunt for her a quarter of an hour. This delayed breakfast and made Aunt Elizabeth very cross. But Emily had found just the right sentence to define the clear yet dim green light that filled the dairy and was so happy over it that she didn't mind Aunt Elizabeth's black looks a bit.

After breakfast Aunt Elizabeth informed Emily that henceforth it would be one of her duties to drive the cows to pasture every morning.

"Jimmy has no hired man just now and it will save him a few minutes."

"And don't be afraid," added Aunt Laura, "the cows know the way so well they'll go of themselves. You have only to follow and shut the gates."

"I'm not afraid," said Emily.

But she was. She knew nothing about cows; still, she was determined that the Murrays should not suspect a Starr was scared. So, her heart beating like a trip-hammer, she sallied valiantly forth and found that what Aunt Laura had said was true and cows were not such ferocious animals after all. They went gravely on ahead and she had only to follow, through the old orchard and then through the scrub maple growth beyond, along a twisted ferny path where the Wind Woman was purring and peeping around the maple clumps.

Emily loitered by the pasture gate until her eager eyes had taken in all the geography of the landscape. The old pasture ran before her in a succession of little green bosoms right down to the famous Blair Water—an almost perfectly round pond, with grassy, sloping, treeless margins. Beyond it was the Blair Water valley, filled with homesteads, and further out the great sweep of the white-capped gulf. It seemed to Emily's eyes a charming land of green shadows, and blue waters. Down in one corner of the pasture, walled off by an old stone dyke, was the little private graveyard where the dead-and-gone Murrays were buried. Emily wanted to go and explore it, but was afraid to trust herself in the pasture.

"I'll go as soon as I get better acquainted with the cows," she resolved.

Off to the right, on the crest of a steep little hill, covered with young birches and firs, was a house that puzzled and intrigued Emily. It was grey and weather-worn, but it didn't look old. It had never been finished; the roof was shingled but the sides were not, and the windows were boarded over. Why had it never been finished? And it was meant to be such a pretty little house—a house you could love—a house where there would be nice chairs and cosy fires and bookcases and lovely, fat, purry cats and unexpected corners; then and there she named it the Disappointed House, and many an hour thereafter did she spend finishing that house, furnishing it as it should be furnished, and inventing the proper people and animals to live in it.

To the left of the pasture-field was another house of a quite different type—a big, old house, tangled over with vines, flat-roofed, with mansard windows, and a general air of indifference and neglect about it. A large, untidy lawn, overgrown with unpruned shrubs and trees, straggled right down to the pond, where enormous willows drooped over the water. Emily decided that she would ask Cousin Jimmy about these houses when she got a good chance.

She felt that, before she went back, she must slip along the pasture fence and explore a certain path which she saw entering the grove of spruce and maple further down. She did—and found that it led straight into Fairyland—along the bank of a wide, lovely brook—a wild, dear, little path with lady-ferns beckoning and blowing along it, the shyest of elfin June-bells under the firs, and little whims of loveliness at every curve. She breathed in the tang of fir-balsam and saw the shimmer of gossamers high up in the boughs, and everywhere the frolic of elfin lights and shadows. Here and there the young maple branches interlaced as if to make a screen for dryad faces—Emily knew all about dryads, thanks to her father—and the great sheets of moss under the trees were meet for Titania's couch.

"This is one of the places where dreams grow," said Emily happily.

She wished the path might go on forever, but presently it veered away from the brook, and when she had scrambled over a mossy, old board fence she found herself in the "front garden" of New Moon, where Cousin Jimmy was pruning some spirea bushes.

"Oh, Cousin Jimmy, I've found the dearest little road," said Emily breathlessly.

"Coming up through Lofty John's bush?"

"Isn't it our bush?" asked Emily, rather disappointed.

"No, but it ought to be. Fifty years ago Uncle Archibald sold that jog of land to Lofty John's father—old Mike Sullivan. He built a little house down near the pond and lived there till he quarrelled with Uncle Archibald—which wasn't long, of course. Then he moved his house across the road—and Lofty John lives there now. Elizabeth has tried to buy the land back from him—she's offered him far more than it's worth—but Lofty John won't sell—just for spite, seeing that he has a good farm of his own and this piece isn't much good to him. He only pastures a few young cattle on it through the summer, and what was cleared is all growing up with scrub maple. It's a thorn in Elizabeth's side and likely to be as long as Lofty John nurses his spite."

"Why is he called Lofty John?"

"Because he's a high and lofty fellow. But never mind him. I want to show you round my garden, Emily. It's mine. Elizabeth bosses the farm; but she lets me run the garden—to make up for pushing me into the well."

"Did she do that?"

"Yes. She didn't mean to, of course. We were just children—I was here on a visit—and the men were putting a new hood on the well and cleaning it. It was open—and we were playing tag around it. I made Elizabeth mad—forget what I said—'twasn't hard to make her mad you understand—and she made to give me a bang on the head. I saw it coming—and stepped back to get out of the way—and down I went, head first. Don't remember anything more about it. There was nothing but mud at the bottom—but my head struck the stones at the side. I was took up for dead—my head all cut up. Poor Elizabeth was—" Cousin Jimmy shook his head, as if to intimate that it was impossible to describe how or what poor Elizabeth was. "I got about after a while, though—pretty near as good as new. Folks say I've never been quite right since—but they only say that because I'm a poet, and because nothing ever worries me. Poets are so scarce in Blair Water folks don't understand them, and most people worry so much, they think you're not right if you don't worry."

"Won't you recite some of your poetry to me, Cousin Jimmy?" asked Emily eagerly.

"When the spirit moves me I will. It's no use to ask me when the spirit don't move me."

"But how am I to know when the spirit moves you, Cousin Jimmy?"

"I'll begin of my own accord to recite my compositions. But I'll tell you this—the spirit generally moves me when I'm boiling the pigs' potatoes in the fall. Remember that and be around."

"Why don't you write your poetry down?"

"Paper's too scarce at New Moon. Elizabeth has some pet economies and writing-paper of any kind is one of them.

"But haven't you any money of your own, Cousin Jimmy?"

"Oh, Elizabeth pays me good wages. But she puts all my money in the bank and just doles out a few dollars to me once in a while. She says I'm not fit to be trusted with money. When I came here to work for her she paid me my wages at the end of the month and I started for Shrewsbury to put it in the bank. Met a tramp on the road—a poor, forlorn creature without a cent. I gave him the money. Why not? I had a good home and a steady job and clothes enough to do me for years. I s'pose it was the foolishest thing I ever did—and the nicest. But Elizabeth never got over it. She's managed my money ever since. But come you now, and I'll show you my garden before I have to go and sow turnips."

The garden was a beautiful place, well worthy Cousin Jimmy's pride. It seemed like a garden where no frost could wither or rough wind blow—a garden remembering a hundred vanished summers. There was a high hedge of clipped spruce all around it, spaced at intervals by tall Lombardies. The north side was closed in by a thick grove of spruce against which a long row of peonies grew, their great red blossoms splendid against its darkness. One big spruce grew in the centre of the garden and underneath it was a stone bench, made of flat shore stones worn smooth by long polish of wind and wave. In the south-east corner was an enormous clump of lilacs, trimmed into the semblance of one large drooping-boughed tree, gloried over with purple. An old summer-house, covered with vines, filled the south-west corner. And in the north-west corner there was a sundial of grey stone, placed just where the broad red walk that was bordered with striped grass, and picked out with pink conchs, ran off into Lofty John's bush. Emily had never seen a sundial before and hung over it enraptured.

"Your great-great-grandfather, Hugh Murray, had that brought out from the Old Country," said Cousin Jimmy. "There isn't as fine a one in the Maritime Provinces. And Uncle George Murray brought those conchs from the Indies. He was a sea-captain."

Emily looked about her with delight. The garden was lovely and the house quite splendid to her childish eyes. It had a big front porch with Grecian columns. These were thought very elegant in Blair Water, and went far to justify the Murray pride. A schoolmaster had said they gave the house a classical air. To be sure, the classical effect was just now rather smothered in hop-vines that rioted over the whole porch and hung in pale-green festoons above the rows of potted scarlet geraniums that flanked the steps.

Emily's heart swelled with pride.

"It's a noble house," she said.

"And what about my garden?" demanded Cousin Jimmy jealously.

"It's fit for a queen," said Emily, gravely and sincerely.

Cousin Jimmy nodded, well pleased, and then a strange sound crept into his voice and an odd look into his eyes.

"There is a spell woven round this garden. The blight shall spare it and the green worm pass it by. Drought dares not invade it and the rain comes here gently."

Emily took an involuntary step backward—she almost felt like running away. But now Cousin Jimmy was himself again.

"Isn't this grass about the sundial like green velvet? I've taken some pains with it, I can tell you. You make yourself at home in this garden." Cousin Jimmy made a splendid gesture. "I confer the freedom of it upon you. Good-luck to you, and may you find the Lost Diamond."

"The Lost Diamond?" said Emily wonderingly. What fascinating thing was this?

"Never hear the story? I'll tell it to-morrow—Sunday's lazy day at New Moon. I must get off to my turnips now or I'll have Elizabeth out looking at me. She won't say anything—she'll just look. Ever seen the real Murray look?"

"I guess I saw it when Aunt Ruth pulled me out from under the table," said Emily ruefully.

"No—no. That was the Ruth Dutton look—spite and malice and all uncharitableness. I hate Ruth Dutton. She laughs at my poetry—not that she ever hears any of it. The spirit never moves when Ruth is around. Dunno where they got her. Elizabeth is a crank but she's sound as a nut, and Laura's a saint. But Ruth's worm-eaten. As for the Murray look, you'll know it when you see it. It's as well known as the Murray pride. We're a darn queer lot—but we're the finest people ever happened. I'll tell you all about us to-morrow."

Cousin Jimmy kept his promise while the aunts were away at church. It had been decided in family conclave that Emily was not to go to church that day.

"She has nothing suitable to wear," said Aunt Elizabeth. "By next Sunday we will have her white dress ready."

Emily was disappointed that she was not to go to church. She had always found church very interesting on the rare occasions when she got there. It had been too far at Maywood for her father to walk but sometimes Ellen Greene's brother had taken her and Ellen.

"Do you think, Aunt Elizabeth," she said wistfully, "that God would be much offended if I wore my black dress to church? Of course it's cheap—I think Ellen Greene paid for it herself—but it covers me all up."

"Little girls who do not understand things should hold their tongues," said Aunt Elizabeth. "I do not choose that Blair Water people should see my niece in such a dress as that wretched black merino. And if Ellen Greene paid for it we must repay her. You should have told us that before we came away from Maywood. No, you are not going to church to-day. You can wear the black dress to school to-morrow. We can cover it up with an apron."

Emily resigned herself with a sigh of disappointment to staying home; but it was very pleasant after all. Cousin Jimmy took her for a walk to the pond, showed her the graveyard and opened the book of yesterday for her.

"Why are all the Murrays buried here?" asked Emily. "Is it really because they are too good to be buried with common people?"

"No—no, pussy. We don't carry our pride as far as that. When old Hugh Murray settled at New Moon there was nothing much but woods for miles and no graveyards nearer than Charlottetown. That's why the old Murrays were buried here—and later on we kept it up because we wanted to lie with our own, here on the green, green banks of the old Blair Water."

"That sounds like a line out of a poem, Cousin Jimmy," said Emily.

"So it is—out of one of my poems."

"I kind of like the idea of a 'sclusive burying-ground like this," said Emily decidedly, looking around her approvingly at the velvet grass sloping down to the fairy-blue pond, the neat walks, the well-kept graves.

Cousin Jimmy chuckled.

"And yet they say you ain't a Murray," he said. "Murray and Byrd and Starr—and a dash of Shipley to boot, or Cousin Jimmy Murray is much mistaken."

"Shipley?"

"Yes—Hugh Murray's wife—your great-great-grandmother—was a Shipley—an Englishwoman. Ever hear of how the Murrays came to New Moon?"

"No."

"They were bound for Quebec—hadn't any notion of coming to P. E. I. They had a long rough voyage and water got scarce, so the captain of the New Moon put in here to get some. Mary Murray had nearly died of seasickness coming but—never seemed to get her sea-legs—so the captain, being sorry for her, told her she could go ashore with the men and feel solid ground under her for an hour or so. Very gladly she went and when she got to shore she said, 'Here I stay.' And stay she did; nothing could budge her; old Hugh—he was young Hugh then, of course, coaxed and stormed and raged and argued—and even cried, I've been told—but Mary wouldn't be moved. In the end he gave in and had his belongings landed and stayed, too. So that is how the Murrays came to P. E. Island."

"I'm glad it happened like that," said Emily.

"So was old Hugh in the long run. And yet it rankled, Emily—it rankled. He never forgave his wife with a whole heart. Her grave is over there in the corner—that one with the flat red stone. Go you and look at what he had put on it."

Emily ran curiously over. The big flat stone was inscribed with one of the long, discursive epitaphs of an older day. But beneath the epitaph was no scriptural verse or pious psalm. Clear and distinct, in spite of age and lichen, ran the line, "Here I stay."

"That's how he got even with her," said Cousin Jimmy. "He was a good husband to her—and she was a good wife and bore him a fine family—and he never was the same after her death. But that rankled in him until it had to come out."

Emily gave a little shiver. Somehow, the idea of that grim old ancestor with his undying grudge against his nearest and dearest was rather terrifying.

"I'm glad I'm only half Murray," she said to herself. Aloud—"Father told me it was a Murray tradition not to carry spite past the grave."

"So 'tis now—but it took its rise from this very thing. His family were so horrified at it, you see. It made considerable of a scandal. Some folks twisted it round to mean that Old Hugh didn't believe in the resurrection, and there was talk of the session taking it up, but after a while the talk died away."

Emily skipped over to another lichen-grown stone.

"Elizabeth Burnley—who was she, Cousin Jimmy?"

"Old William Murray's wife. He was Hugh's brother, and came out here five years after Hugh did. His wife was a great beauty and had been a belle in the Old Country. She didn't like the P. E. Island woods. She was homesick, Emily—scandalous homesick. For weeks after she came here she wouldn't take off her bonnet—just walked the floor in it, demanding to be taken back home."

"Didn't she take it off when she went to bed?" asked Emily.

"Dunno if she did go to bed. Anyway, William wouldn't take her back home so in time she took off her bonnet and resigned herself. Her daughter married Hugh's son, so Elizabeth was your great-great-grandmother."

Emily looked down at the sunken green grave and wondered if any homesick dreams haunted Elizabeth Burnley's slumber of a hundred years.

"It's dreadful to be homesick—I know," she thought sympathetically.

"Little Stephen Murray is buried over there," said Cousin Jimmy. "His was the first marble stone in the burying-ground. He was your grandfather's brother—died when he was twelve. He has," said Cousin Jimmy solemnly, "became a Murray tradition."

"Why?"

"He was so beautiful and clever and good. He hadn't a fault—so of course he couldn't live. They say there never was such a handsome child in the connection. And lovable—everybody loved him. He has been dead for ninety years—not a Murray living to-day ever saw him—and yet we talk about him at family gatherings—he's more real than lots of living people. So you see, Emily, he must have been an extraordinary child—but it ended in that—" Cousin Jimmy waved his hand towards the grassy grave and the white, prim headstone.

"I wonder," thought Emily, "if anyone will remember me ninety years after I'm dead."

"This old yard is nearly full," reflected Cousin Jimmy. "There's just room in yonder corner for Elizabeth and Laura—and me. None for you, Emily."

"I don't want to be buried here," flashed Emily. "I think it's splendid to have a graveyard like this in the family—but I am going to be buried in Charlottetown graveyard with Father and Mother. But there's one thing worries me Cousin Jimmy, do you think I'm likely to die of consumption?"

Cousin Jimmy looked judicially down into her eyes.

"No," he said, "no, Miss Puss. You've got enough life in you to carry you far. You aren't meant for death."

"I feel that, too," said Emily, nodding. "And now, Cousin Jimmy, why is that house over there disappointed?"

"Which one?—oh, Fred Clifford's house. Fred Clifford began to build that house thirty years ago. He was to be married and his lady picked out the plan. And when the house was just as far along as you see she jilted him, Emily—right in the face of day she jilted him. Never another nail was driven in the house. Fred went out to British Columbia. He's living there yet—married and happy. But he won't sell that lot to anyone—so I reckon he feels the sting yet."

"I'm so sorry for that house. I wish it had been finished. It wants to be—even yet it wants to be."

"Well, I reckon it never will. Fred had a bit of Shipley in him, too, you see. One of old Hugh's girls was his grandmother. And Doctor Burnley up there in the big grey house has more than a bit."

"Is he a relation of ours, too, Cousin Jimmy?"

"Forty-second cousin. Way back he had a cousin of Mary Shipley's for a great-something. That was in the Old Country—his forebears came out here after we did. He's a good doctor but an odd stick—odder by far than I am, Emily, and yet nobody ever says he's not all there. Can you account for that? He doesn't believe in God—and I am not such a fool as that."

"Not in any God?"

"Not in any God. He's an infidel, Emily. And he's bringing his little girl up the same way, which I think is a shame, Emily," said Cousin Jimmy confidentially.

"Doesn't her mother teach her things?"

"Her mother is—dead," answered Cousin Jimmy, with a little odd hesitation. "Dead these ten years," he added in a firmer tone. "Ilse Burnley is a great girl—hair like daffodils and eyes like yellow diamonds."

"Oh, Cousin Jimmy, you promised you'd tell me about the Lost Diamond," cried Emily eagerly.

"To be sure—to be sure. Well, it's there—somewhere in or about the old summer-house, Emily. Fifty years ago Edward Murray and his wife came here from Kingsport for a visit. A great lady she was, and wearing silks and diamonds like a queen, though no beauty. She had a ring on with a stone in it that cost two hundred pounds, Emily. That was a big lot of money to be wearing on one wee woman-finger, wasn't it? It sparkled on her white hand as she held her dress going up the steps of the summer-house; but when she came down the steps it was gone."

"And was it never found?" asked Emily breathlessly.

"Never—and for no lack of searching. Edward Murray wanted to have the house pulled down—but Uncle Archibald wouldn't hear of it—because he had built it for his bride. The two brothers quarrelled over it and were never good friends again. Everybody in the connection has taken a spell hunting for the diamond. Most folks think it fell out of the summer-house among the flowers or shrubs. But I know better, Emily. I know Miriam Murray's diamond is somewhere about that old house yet. On moonlit nights, Emily, I've seen it glinting—glinting and beckoning. But never in the same place—and when you go to it—it's gone, and you see it laughing at you from somewhere else."

Again there was that eerie, indefinable something in Cousin Jimmy's voice or look that gave Emily a sudden crinkly feeling in her spine. But she loved the way he talked to her, as if she were grown-up; and she loved the beautiful land around her; and, in spite of the ache for her father and the house in the hollow which persisted all the time and hurt her so much at night that her pillow was wet with secret tears, she was beginning to be a little glad again in sunset and bird song and early white stars, in moonlit nights and singing winds. She knew life was going to be wonderful here—wonderful and interesting, what with out-door cook-houses and cream-girdled dairies and pond paths and sundials, and Lost Diamonds, and Disappointed Houses and men who didn't believe in any God—not even Ellen Greene's God. Emily hoped she would soon see Dr Burnley. She was very curious to see what an infidel looked like. And she had already quite made up her mind that she would find the Lost Diamond.

Chapter 8 Trial by Fire

Aunt Elizabeth drove Emily to school the next morning. Aunt Laura had thought that, since there was only a month before vacation, it was not worth while for Emily to "start school." But Aunt Elizabeth did not yet feel comfortable with a small niece skipping around New Moon, poking into everything insatiably, and was resolved that Emily must go to school to get her out of the way. Emily herself, always avid for new experiences, was quite keen to go, but for all that she was seething with rebellion as they drove along. Aunt Elizabeth had produced a terrible gingham apron and an equally terrible gingham sunbonnet from somewhere in the New Moon garret, and made Emily put them on. The apron was a long sack-like garment, high in the neck, withsleeves. Those sleeves were the crowning indignity. Emily had never seen any little girl wearing an apron with sleeves. She rebelled to the point of tears over wearing it, but Aunt Elizabeth was not going to have any nonsense. Emily saw the Murray look then; and when she saw it she buttoned her rebellious feeling tightly up in her soul and let Aunt Elizabeth put the apron on her.

"It was one of your mother's aprons when she was a little girl, Emily," said Aunt Laura comfortingly, and rather sentimentally.

"Then," said Emily, uncomforted and unsentimental, "I don't wonder she ran away with Father when she grew up."

Aunt Elizabeth finished buttoning the apron and gave Emily a none too gentle push away from her.

"Put on your sunbonnet," she ordered.

"Oh, please, Aunt Elizabeth, don't make me wear that horrid thing."

Aunt Elizabeth, wasting no further words, picked up the bonnet and tied it on Emily's head. Emily had to yield. But from the depths of the sunbonnet issued a voice, defiant though tremulous.

"Anyway, Aunt Elizabeth, you can't boss God," it said.

Aunt Elizabeth was too cross to speak all the way to the schoolhouse. She introduced Emily to Miss Brownell, and drove away. School was already "in," so Emily hung her sunbonnet on the porch nail and went to the desk Miss Brownell assigned her. She had already made up her mind that she did not like Miss Brownell and never would like her.

Miss Brownell had the reputation in Blair Water of being a fine teacher—due mainly to the fact that she was a strict disciplinarian and kept excellent "order." She was a thin, middle-aged person with a colourless face, prominent teeth, most of which she showed when she laughed, and cold, watchful grey eyes—colder even than Aunt Ruth's. Emily felt as if those merciless agate eyes saw clean through her to the core of her sensitive little soul. Emily could be fearless enough on occasion; but in the presence of a nature which she instinctively felt to be hostile to hers she shrank away in something that was more repulsion than fear.

She was a target for curious glances all the morning. The Blair Water school was large and there were at least twenty little girls of about her own age. Emily looked back curiously at them all and thought the way they whispered to each other behind hands and books when they looked at her very ill-mannered. She felt suddenly unhappy and homesick and lonesome—she wanted her father and her old home and the dear things she loved.

"The New Moon girl is crying," whispered a black-eyed girl across the aisle. And then came a cruel little giggle.

"What is the matter with you, Emily?" said Miss Brownell suddenly and accusingly.

Emily was silent. She could not tell Miss Brownell what was the matter with her—especially when Miss Brownell used such a tone.

"When I ask one of my pupils a question, Emily, I am accustomed to having an answer. Why are you crying?"

There was another giggle from across the aisle. Emily lifted miserable eyes and in her extremity fell back on a phrase of her father's.

"It is a matter that concerns only myself," she said.

A red spot suddenly appeared in Miss Brownell's sallow cheek. Her eyes gleamed with cold fire.

"You will remain in during recess as a punishment for your impertinence," she said—but she left Emily alone the rest of the day.

Emily did not in the least mind staying in at recess, for, acutely sensitive to her environment as she was, she realized that, for some reason she could not fathom, the atmosphere of the school was antagonistic. The glances cast at her were not only curious but ill-natured. She did not want to go out to the playground with those girls. She did not want to go to school in Blair Water. But she would not cry any more. She sat erect and kept her eyes on her book. Suddenly a soft, malignant hiss came across the aisle.

"Miss Pridey—Miss Pridey!"

Emily looked across at the girl. Large, steady, purplish-grey eyes gazed into beady, twinkling, black ones—gazed unquailingly—with something in them that cowed and compelled. The black eyes wavered and fell, their owner covering her retreat with another giggle and toss of her short braid of hair.

"I can master her," thought Emily, with a thrill of triumph.

But there is strength in numbers and at noon hour Emily found herself standing alone on the playground facing a crowd of unfriendly faces. Children can be the most cruel creatures alive. They have the herd instinct of prejudice against any outsider, and they are merciless in its indulgence. Emily was a stranger and one of the proud Murrays—two counts against her. And there was about her, small and ginghamed and sunbonneted as she was, a certain reserve and dignity and fineness that they resented. And they resented the level way she looked at them, with that disdainful face under cloudy black hair, instead of being shy and drooping as became an interloper on probation.

"You are a proud one," said Black-eyes. "Oh, my, you may have buttoned boots, but you are living on charity."

Emily had not wanted to put on the buttoned boots. She wanted to go barefoot as she had always done in summer. But Aunt Elizabeth had told her that no child from New Moon had ever gone barefoot to school.

"Oh, just look at the baby apron," laughed another girl, with a head of chestnut curls.

Now Emily flushed. This was indeed the vulnerable point in her armour. Delighted at her success in drawing blood the curled one tried again.

"Is that your grandmother's sunbonnet?"

There was a chorus of giggles.

"Oh, she wears a sunbonnet to save her complexion," said a bigger girl. "That's the Murray pride. The Murrays are rotten with pride, my mother says."

"You're awful ugly," said a fat, squat little miss, nearly as broad as she was long. "Your ears look like a cat's."

"You needn't be so proud," said Black-eyes. "Your kitchen ceiling isn't plastered even."

"And your Cousin Jimmy is an idiot," said Chestnut-curls.

"He isn't!" cried Emily. "He has more sense than any of you. You can say what you like about me but you are not going to insult my family. If you say one more word about them I'll look you over with the evil eye."

Nobody understood what this threat meant, but that made it all the more effective. It produced a brief silence. Then the baiting began again in a different form.

"Can you sing?" asked a thin, freckled girl, who yet contrived to be very pretty in spite of thinness and freckles.

"No," said Emily.

"Can you dance?"

"No."

"Can you sew?"

"No."

"Can you cook?"

"No."

"Can you knit lace?"

"No."

"Can you crochet?"

"No."

"Then what can you do?" said the Freckled-one in a contemptuous tone.

"I can write poetry," said Emily, without in the least meaning to say it. But at that instant she knew she could write poetry. And with this queer unreasonable conviction came—the flash! Right there, surrounded by hostility and suspicion, fighting alone for her standing, without backing or advantage, came the wonderful moment when soul seemed to cast aside the bonds of flesh and spring upward to the stars. The rapture and delight on Emily's face amazed and enraged her foes. They thought it a manifestation of Murray pride in an uncommon accomplishment.

"You lie," said Black-eyes bluntly.

"A Starr does not lie," retorted Emily. The flash was gone, but its uplift remained. She looked them all over with a cool detachment that quelled them temporarily.

"Why don't you like me?" she asked directly.

There was no reply. Emily looked straight at Chestnut-curls and repeated her question. Chestnut-curls felt herself compelled to answer it.

"Because you ain't a bit like us," she muttered.

"I wouldn't want to be," said Emily scornfully.

"Oh, my, you are one of the Chosen People," mocked Black-eyes.

"Of course I am," retorted Emily.

She walked away to the schoolhouse, conqueror in that battle.

But the forces against her were not so easily cowed. There was much whispering and plotting after she had gone in, a conference with some of the boys, and a handing over of bedizened pencils and chews of gum for value received.

An agreeable sense of victory and the afterglow of the flash carried Emily through the afternoon in spite of the fact that Miss Brownell ridiculed her for her mistakes in spelling. Miss Brownell was very fond of ridiculing her pupils. All the girls in the class giggled except one who had not been there in the morning and was consequently at the tail. Emily had been wondering who she was. She was as unlike the rest of the girls as Emily herself, but in a totally different style. She was tall, oddly dressed in an overlong dress of faded, striped print, and barefooted. Her thick hair, cut short, fluffed out all around her head in a bushy wave that seemed to be of brilliant spun gold; and her glowing eyes were of a brown so light and translucent as to be almost amber. Her mouth was large, and she had a saucy, pronounced chin. Pretty she might not be called, but her face was so vivid and mobile that Emily could not drag her fascinated eyes from it. And she was the only girl in class who did not, sometime through the lesson, get a barb of sarcasm from Miss Brownell, though she made as many mistakes as the rest of them.

At recess one of the girls came up to Emily with a box in her hand. Emily knew that she was Rhoda Stuart and thought her very pretty and sweet. Rhoda had been in the crowd around her at the noon hour but she had not said anything. She was dressed in crispy pink gingham; she had smooth, lustrous braids of sugar-brown hair, big blue eyes, a rose-bud mouth, doll-like features and a sweet voice. If Miss Brownell could be said to have a favourite it was Rhoda Stuart, and she seemed generally popular in her own set and much petted by the older girls.

"Here is a present for you," she said sweetly.

Emily took the box unsuspectingly. Rhoda's smile would have disarmed any suspicion. For a moment Emily was happily anticipant as she removed the cover. Then with a shriek she flung the box from her, and stood pale and trembling from head to foot. There was a snake in the box—whether dead or alive she did not know and did not care. For any snake Emily had a horror and repulsion she could not overcome. The very sight of one almost paralysed her.

A chorus of giggles ran around the porch. "Who'd be so scared of an old dead snake?" scoffed Black-eyes.

"Can you write poetry about that?" giggled Chestnut-curls.

"I hate you—I hate you!" cried Emily. "You are mean, hateful girls!"

"Calling names isn't ladylike," said the Freckled-one. "I thought a Murray would be too grand for that."

"If you come to school to-morrow, Miss Starr," said Black-eyes deliberately, "we are going to take that snake and put it around your neck."

"Let me see you do it!" cried a clear, ringing voice. Into their midst with a bound came the girl with amber eyes and short hair. "Just let me see you do it, Jennie Strang!"

"This isn't any of your business, Ilse Burnley," muttered Jennie, sullenly.

"Oh, isn't it? Don't you sass me, Piggy-eyes." Ilse walked up to the retreating Jennie and shook a sunburned fist in her face. "If I catch you teasing Emily Starr to-morrow with that snake again I'll take it by the tail and you by your tail, and slash you across the face with it. Mind that, Piggy-eyes. Now you go and pick up that precious snake of yours and throw it down on the ash pile."

Jennie actually went and did it. Ilse faced the others.

"Clear out, all of you, and leave the New Moon girl alone after this," she said. "If I hear of any more meddling and sneaking I'll slit your throats, and rip out your hearts and tear your eyes out. Yes, and I'll cut off your ears and wear them pinned on my dress!"

Cowed by these ferocious threats, or by something in Ilse's personality, Emily's persecutors drifted away. Ilse turned to Emily.

"Don't mind them," she said contemptuously. "They're jealous of you, that's all—jealous because you live at New Moon and ride in a fringed-top buggy and wear buttoned boots. You smack their mugs if they give you any more of their jaw."

Ilse vaulted the fence and tore off into the maple bush without another glance at Emily. Only Rhoda Stuart remained.

"Emily, I'm awful sorry," she said, rolling her big blue eyes appealingly. "I didn't know there was a snake in that box, cross my heart I didn't. The girls just told me it was a present for you. You're not mad at me, are you? Because I like you."

Emily had been "mad" and hurt and outraged. But this little bit of friendliness melted her instantly. In a moment she and Rhoda had their arms around each other, parading across the playground.

"I'm going to ask Miss Brownell to let you sit with me," said Rhoda. "I used to sit with Annie Gregg but she's moved away. You'd like to sit with me, wouldn't you?"

"I'd love it," said Emily warmly. She was as happy as she had been miserable. Here was the friend of her dreams. Already she worshipped Rhoda.

"We ought to sit together," said Rhoda importantly. "We belong to the two best families in Blair Water. Do you know that if my father had his rights he would be on the throne of England?"

"England!" said Emily, too amazed to be anything but an echo.

"Yes. We are descended from the kings of Scotland," said Rhoda. "So of course we don't 'sociate with everybody. My father keeps store and I'm taking music lessons. Is your Aunt Elizabeth going to give you music lessons?"

"I don't know."

"She ought to. She is very rich, isn't she?"

"I don't know," said Emily again. She wished Rhoda would not ask such questions. Emily thought it was hardly good manners. But surely a descendant of the Stuart kings ought to know the rules of breeding, if anybody did.

"She's got an awful temper, hasn't she?" asked Rhoda.

"No, she hasn't!" cried Emily.

"Well, she nearly killed your Cousin Jimmy in one of her rages," said Rhoda. "That's true—Mother told me. Why doesn't your Aunt Laura get married? Has she got a beau? What wages does your Aunt Elizabeth pay your Cousin Jimmy?"

"I don't know."

"Well," said Rhoda, rather disappointedly. "I suppose you haven't been at New Moon long enough to find things out. But it must be very different from what you've been used to, I guess. Your father was as poor as a church mouse, wasn't he?"

"My father was a very, very rich man," said Emily deliberately.

Rhoda stared.

"I thought he hadn't a cent."

"Neither he had. But people can be rich without money."

"I don't see how. But anyhow, you'll be rich some day—your Aunt Elizabeth will likely leave you all her money, Mother says. So I don't care if you are living on charity—I love you and I'm going to stick up for you. Have you got a beau, Emily?"

"No," cried Emily, blushing violently and quite scandalized at the idea. "Why, I'm only eleven."

"Oh, everybody in our class has a beau. Mine is Teddy Kent. I shook hands with him after I'd counted nine stars for nine nights without missing a night. If you do that the first boy you shake hands with afterwards is to be your beau. But it's awful hard to do. It took me all winter. Teddy wasn't in school to-day—he's been sick all June. He's the best-looking boy in Blair Water. You'll have to have a beau, too, Emily."

"I won't," declared Emily angrily. "I don't know a thing about beaux and I won't have one."

Rhoda tossed her head.

"Oh, I s'pose you think there's nobody good enough for you, living at New Moon. Well, you won't be able to play Clap-in-and-clap-out if you haven't a beau."

Emily knew nothing of the mysteries of Clap-in-and-clap-out, and didn't care. Anyway, she wasn't going to have a beau and she repeated this in such decided tones that Rhoda deemed it wise to drop the subject.

Emily was rather glad when the bell rang. Miss Brownell granted Rhoda's request quite graciously and Emily transferred her goods and chattels to Rhoda's seat. Rhoda whispered a good deal during the last hour and Emily got scolded for it but did not mind.

"I'm going to have a birthday party the first week in July, and I'm going to invite you, if your aunts will let you come. I'm not going to have Ilse Burnley though."

"Don't you like her?"

"No. She's an awful tomboy. And then her father is an infidel. And so's she. She always spells 'God' with a little 'g' in her dictation. Miss Brownell scolds her for it, but she does it right along. Miss Brownell won't whip her because she's setting her cap for Dr Burnley. But Ma says she won't get him because he hates women. I don't think it's proper to 'sociate with such people. Ilse is an awful wild queer girl and has an awful temper. So has her father. She doesn't chum with anybody. Isn't it ridic'lus the way she wears her hair? You ought to have a bang, Emily. They're all the rage and you'd look well with one because you've such a high forehead. It would make a real beauty of you. My, but you have lovely hair, and your hands are just lovely. All the Murrays have pretty hands. And you have the sweetest eyes, Emily."

Emily had never received so many compliments in her life. Rhoda laid flattery on with a trowel. Her head was quite turned and she went home from school determined to ask Aunt Elizabeth to cut her hair in a bang. If it would make a beauty of her it must be compassed somehow. And she would also ask Aunt Elizabeth if she might wear her Venetian beads to school next day.

"The other girls may respect me more then," she thought.

She was alone from the crossroads, where she had parted company with Rhoda, and she reviewed the events of the day with a feeling that, after all, she had kept the Starr flag flying, except for a temporary reverse in the matter of the snake. School was very different from what she had expected it to be, but that was the way in life, she had heard Ellen Greene say, and you just had to make the best of it. Rhoda was a darling; and there was something about Ilse Burnley that one liked; and as for the rest of the girls Emily got square with them by pretending she saw them all being hanged in a row for frightening her to death with a snake, and felt no more resentment towards them, although some of the things that had been said to her rankled bitterly in her heart for many a day. She had no father to tell them to, and no account-book to write them out in, so she could not exorcise them.

She had no speedy chance to ask for a bang, for there was company at New Moon and her aunts were busy getting ready an elaborate supper. But when the preserves were brought on Emily snatched the opportunity of a lull in the older conversation.

"Aunt Elizabeth," she said, "can I have a bang?"

Aunt Elizabeth looked her disdain.

"No," she said, "I do not approve of bangs. Of all the silly fashions that have come in nowadays, bangs are the silliest."

"Oh, Aunt Elizabeth, do let me have a bang. It would make a beauty of me—Rhoda says so."

"It would take a good deal more than a bang to do that, Emily. We will not have bangs at New Moon—except on the Molly cows. They are the only creatures that should wear bangs."

Aunt Elizabeth smiled triumphantly around the table—Aunt Elizabeth did smile sometimes when she thought she had silenced some small person by exquisite ridicule. Emily understood that it was no use to hope for bangs. Loveliness did not lie that way for her. It was mean of Aunt Elizabeth—mean. She heaved a sigh of disappointment and dismissed the idea for the present. There was something else she wanted to know.

"Why doesn't Ilse Burnley's father believe in God?" she asked.

"'Cause of the trick her mother played him," said Mr Slade, with a chuckle. Mr Slade was a fat, jolly-looking old man with bushy hair and whiskers. He had already said some things Emily could not understand and which had seemed greatly to embarrass his very lady-like wife.

"What trick did Ilse's mother play?" asked Emily, all agog with interest.

Now Aunt Laura looked at Aunt Elizabeth and Aunt Elizabeth looked at Aunt Laura. Then the latter said: "Run out and feed the chickens, Emily."

Emily rose with dignity.

"You might just as well tell me that Ilse's mother isn't to be talked about and I will obey you. I understand perfectly what you mean," she said as she left the table.

Chapter 9 A Special Providence

Emily was sure on that first day at school that she would never like it. She must go, she knew, in order to get an education and be ready to earn her own living; but it would always be what Ellen Greene solemnly called "a cross." Consequently Emily felt quite astonished when, after going to school a few days, it dawned upon her that she was liking it. To be sure, Miss Brownell did not improve on acquaintance; but the other girls no longer tormented her—indeed, to her amazement, they seemed suddenly to forget all that had happened and hailed her as one of themselves. She was admitted to the fellowship of the pack and, although in some occasional tiff she got a dig about baby aprons and Murray pride, there was no more hostility, veiled or open. Besides, Emily was quite able to give "digs" herself, as she learned more about the girls and their weak points, and she could give them with such merciless lucidity and irony that the others soon learned not to provoke them. Chestnut-curls, whose name was Grace Wells, and the Freckled-one, whose name was Carrie King, and Jennie Strang became quite chummy with her, and Jennie sent chews of gum and tissue thumb-papers across the aisle instead of giggles. Emily allowed them all to enter the outer court of her temple of friendship but only Rhoda was admitted to the inner shrine. As for Ilse Burnley, she did not appear after that first day. Ilse, so Rhoda said, came to school or not, just as she liked. Her father never bothered about her. Emily always felt a certain hankering to know more of Ilse, but it did not seem likely to be gratified.

Emily was insensibly becoming happy again. Already she felt as if she belonged to this old cradle of her family. She thought a great deal about the old Murrays; she liked to picture them revisiting the glimpses of New Moon—Great-grandmother rubbing up her candlesticks and making cheeses; Great-aunt Miriam stealing about looking for her lost treasure; homesick Great-great-aunt Elizabeth stalking about in her bonnet; Captain George, the dashing, bronzed sea-captain, coming home with the spotted shells of the Indies; Stephen, the beloved of all, smiling from its windows; her own mother dreaming of Father—they all seemed as real to her as if she had known them in life.

She still had terrible hours when she was overwhelmed by grief for her father and when all the splendours of New Moon could not stifle the longing for the shabby little house in the hollow where they had loved each other so. Then Emily fled to some secret corner and cried her heart out, emerging with red eyes that always seemed to annoy Aunt Elizabeth. Aunt Elizabeth had become used to having Emily at New Moon but she had not drawn any nearer to the child. This hurt Emily always; but Aunt Laura and Cousin Jimmy loved her and she had Saucy Sal and Rhoda, fields creamy with clover, soft dark trees against amber skies, and the madcap music the Wind Woman made in the firs behind the barns when she blew straight up from the gulf; her days became vivid and interesting, full of little pleasures and delights, like tiny, opening, golden buds on the tree of life. If she could only have had her old yellow account-book, or some equivalent, she could have been fully content. She missed it next to her father, and its enforced burning was something for which she held Aunt Elizabeth responsible and for which she felt she could never wholly forgive her. It did not seem possible to get any substitute. As Cousin Jimmy had said, writing-paper of any kind was scarce at New Moon. Letters were seldom written, and when they were a sheet of note-paper sufficed. Emily dared not ask Aunt Elizabeth for any. There were times when she felt she would burst if she couldn't write out some of the things that came to her. She found a certain safety valve in writing on her slate in school; but these scribblings had to be rubbed off sooner or later—which left Emily with a sense of loss—and there was always the danger that Miss Brownell would see them. That, Emily felt, would be unendurable. No stranger eyes must behold these sacred productions. Sometimes she let Rhoda read them, though Rhoda rasped her by giggling over her finest flights. Emily thought Rhoda as near perfection as a human being could be, but giggling was her fault.

But there is a destiny which shapes the ends of young misses who are born with the itch for writing tingling in their baby fingertips, and in the fullness of time this destiny gave to Emily the desire of her heart—gave it to her, too, on the very day when she most needed it. That was the day, the ill-starred day, when Miss Brownell elected to show the fifth class, by example as well as precept, how the Bugle Song should be read.

Standing on the platform Miss Brownell, who was not devoid of a superficial, elocutionary knack, read those three wonderful verses. Emily, who should have been doing a sum in long division, dropped her pencil and listened entranced. She had never heard the Bugle Song before—but now she heard it—and saw it—the rose-red splendour falling on those storied, snowy summits and ruined castles—the lights that never were on land or sea streaming over the lakes—she heard the wild echoes flying through the purple valleys and the misty passes—the mere sound of the words seemed to make an exquisite echo in her soul—and when Miss Brownell came to "Horns of elf-land faintly blowing" Emily trembled with delight. She was snatched out of herself. She forgot everything but the magic of that unequalled line—she sprang from her seat, knocking her slate to the floor with a clatter, she rushed up the aisle, she caught Miss Brownell's arm.

"Oh, teacher," she cried with passionate earnestness, "read that line over again—oh, read that line over again!"

Miss Brownell, thus suddenly halted in her elocutionary display, looked down into a rapt, uplifted face where great purplish-grey eyes were shining with the radiance of a divine vision—and Miss Brownell was angry. Angry with this breach of her strict discipline—angry with this unseemly display of interest in a third-class atom whose attention should have been focused on long division. Miss Brownell shut her book and shut her lips and gave Emily a resounding slap on her face.

"Go right back to your seat and mind your own business, Emily Starr," said Miss Brownell, her cold eyes malignant with her fury.

Emily, thus dashed to earth, moved back to her seat in a daze. Her smitten cheek was crimson, but the wound was in her heart. One moment ago in the seventh heaven—and now this—pain, humiliation, misunderstanding! She could not bear it. What had she done to deserve it? She had never been slapped in her life before. The degradation and the injustice ate into her soul. She could not cry—this was "a grief too deep for tears"—she went home from school in a suppressed anguish of bitterness and shame and resentment—an anguish that had no outlet, for she dared not tell her story at New Moon. Aunt Elizabeth, she felt sure, would say that Miss Brownell had done quite right, and even Aunt Laura, kind and sweet as she was, would not understand. She would be grieved because Emily had misbehaved in school and had had to be punished.

"Oh, if I could only tell Father all about it!" thought Emily.

She could not eat any supper—she did not think she would ever be able to eat again. And oh, how she hated that unjust, horrid Miss Brownell! She could never forgive her—never! If there were only some way in which she could get square with Miss Brownell! Emily, sitting small and pale and quiet at the New Moon supper-table, was a seething volcano of wounded feeling and misery and pride—ay, pride! Worse even than the injustice was the sting of humiliation over this thing that had happened. She, Emily Byrd Starr, on whom no hand had ever before been ungently laid, had been slapped like a naughty baby before the whole school. Who could endure this and live?

Then destiny stepped in and drew Aunt Laura to the sitting-room bookcase to look in its lower compartment for a certain letter she wanted to see. She took Emily with her to show her a curious old snuff-box that had belonged to Hugh Murray, and in rummaging for it lifted out a big, flat bundle of dusty paper—paper of a deep pink colour in oddly long and narrow sheets.

"It's time these old letter-bills were burned," she said. "What a pile of them! They've been here gathering dust for years and they are no earthly good. Father once kept the post-office here at New Moon, you know, Emily. The mail came only three times a week then, and each day there was one of these long red 'letter-bills,' as they were called. Mother always kept them, though when once used they were of no further use. But I'm going to burn them right away."

"Oh, Aunt Laura," gasped Emily, so torn between desire and fear that she could hardly speak. "Oh, don't do that—give them to me—please give them to me."

"Why, child, what ever do you want of them?"

"Oh, Aunty, they have such lovely blank backs for writing on. Please, Aunt Laura, it would be a sin to burn those letter-bills."

"You can have them, dear. Only you'd better not let Elizabeth see them."

"I won't—I won't," breathed Emily.

She gathered her precious booty into her arms and fairly ran upstairs—and then upstairs again into the garret, where she already had her "favourite haunt," in which her uncomfortable habit of thinking of things thousands of miles away could not vex Aunt Elizabeth. This was the quiet corner of the dormer-window, where shadows always moved about, softly and swingingly, and beautiful mosaics patterned the bare floor. From it one could see over the tree-tops right down to the Blair Water. The walls were hung around with great bundles of soft fluffy rolls, all ready for spinning, and hanks of untwisted yarn. Sometimes Aunt Laura spun on the great wheel at the other end of the garret and Emily loved the whir of it.

In the recess of the dormer-window she crouched—breathlessly she selected a letter-bill and extracted a lead-pencil from her pocket. An old sheet of cardboard served as a desk; she began to write feverishly.

"Dear Father"—and then she poured out her tale of the day—of her rapture and her pain—writing heedlessly and intently until the sunset faded into dim, starlitten twilight. The chickens went unfed—Cousin Jimmy had to go himself for the cows—Saucy Sal got no new milk—Aunt Laura had to wash the dishes—what mattered it? Emily, in the delightful throes of literary composition, was lost to all worldly things.

When she had covered the backs of four letter-bills she could see to write no more. But she had emptied out her soul and it was once more free from evil passions. She even felt curiously indifferent to Miss Brownell. Emily folded up her letter-bills and wrote clearly across the packet.

 

Mr Douglas Starr,
On the Road to Heaven.

 

Then she stepped softly across to an old, worn-out sofa in a far corner and knelt down, stowing away her letter and her "letter-bills" snugly on a little shelf formed by a board nailed across it underneath. Emily had discovered this one day when playing in the garret and had noted it as a lovely hiding-place for secret documents. Nobody would ever come across them there. She had writing-paper enough to last for months—there must be hundreds of those jolly old letter-bills.

"Oh," cried Emily, dancing down the garret stairs, "I feel as if I was made out of star-dust."

Thereafter few evenings passed on which Emily did not steal up to the garret and write a letter, long or short, to her father. The bitterness died out of her grief. Writing to him seemed to bring him so near; and she told him everything, with a certain honesty of confession that was characteristic of her—her triumphs, her failures, her joys, her sorrows, everything went down on the letter-bills of a Government which had not been so economical of paper as it afterwards became. There was fully half a yard of paper in each bill and Emily wrote a small hand and made the most of every inch.

"I like New Moon. It's so stately and splendid here," she told her father. "And it seems as if we must be very aristokratik when we have a sun dyal. I can't help feeling proud of it all. I am afraid I have too much pride and so I ask God every night to takemost of it away but not quite all. It is very easy to get a repputation for pride in Blair Water school. If you walk straight and hold your head up you are a proud one. Rhoda is proud, too, because her father ought to be King of England. I wonder how Queen Victoria would feel if she knew that. It's very wonderful to have a friend who would be a princess if every one had their rites. I love Rhoda with all my heart. She is so sweet and kind. But I don't like her giggles. And when I told her I could see the school wallpaper small in the air she said You lie. It hurt me awfully to have my dearest friend say that to me. And it hurt me worse when I woke up in the night and thought about it. I had to stay awake ever so long, too, because I was tired lying on one side and I was afraid to turn over because Aunt Elizabeth would think I was figitting.

"I didn't dare tell Rhoda about the Wind Woman because I suppose that really is a kind of lie, though she seems so real to me. I hear her now singing up on the roof around the big chimneys. I have no Emily-in-the-glass here. The looking-glasses are all too high up in the rooms I've been in. I've never been in the look-out. It is always locked. It was Mother's room and Cousin Jimmy says her father locked it up after she ran away with you and Aunt Elizabeth keeps it locked still out of respect to his memory, though Cousin Jimmy says Aunt Elizabeth used to fight with her father something scandalus when he was alive though no outsider knew of it because of the Murray pride. I feel that way myself. When Rhoda asked me if Aunt Elizabeth burned candles because she was old-fashioned I answered hawtily no, it was a Murray tradishun. Cousin Jimmy has told me all the tradishuns of the Murrays. Saucy Sal is very well and bosses the barns but still she will not have kittens and I can't understand it. I asked Aunt Elizabeth about it and she said nice little girls didn't talk about such things but I cannot see why kittens are improper. When Aunt Elizabeth is away Aunt Laura and I smuggle Sal into the house but when Aunt Elizabeth comes back I always feel gilty and wish I hadn't. But the next time I do it again. I think that very strange. I never hear about dear Mike. I wrote Ellen Greene and asked about him and she replyed and never mentioned Mike but told me all about her roomatism. As if I cared about her roomatism.

"Rhoda is going to have a birthday party and she is going to invite me. I am so excited. You know I never was to a party before. I think about it a great deal and picture it out. Rhoda is not going to invite all the girls but only a favered few. I hope Aunt Elizabeth will let me ware my white dress and good hat. Oh, Father, I pinned that lovely picture of the lace ball dress up on the wall of Aunt Elizabeth's room, just like I had it at home and Aunt Elizabeth took it down and burned it and skolded me for making pin marks in the paper. I said Aunt Elizabeth you should not have burned that picture. I wanted to have it when I grow up to have a dress made like it for balls. And Aunt Elizabeth said Do you expect to attend many balls if I may ask and I said Yes when I am rich and famus and Aunt Elizabeth said Yes when the moon is made of green cheese.

"I saw Dr Burnley yesterday when he came over to buy some eggs from Aunt Elizabeth. I was disappointed because he looks just like other people. I thought a man who didn't believe in God would look queer in some way. He did not sware either and I was sorry for I have never heard any one sware and I am very angshus to. He has big yellow eyes like Ilse and a loud voice and Rhoda says when he gets mad you can hear him yelling all over Blair Water. There is some mystery about Ilse's mother which I cannot fathom. Dr Burnley and Ilse live alone. Rhoda says Dr Burnley says he will have no devils of women in that house. That speech is wikked but striking. Old Mrs Simms goes over and cooks dinner and supper for them and then vamooses and they get their own breakfast. The doctor sweeps out the house now and then and Ilse never does anything but run wild. The doctor never smiles so Rhoda says. He must be like King Henry the Second.

"I would like to get akwanted with Ilse. She isn't as sweet as Rhoda but I like her looks, too. But she doesn't come to school much and Rhoda says I mustn't have any chum but her or she will cry her eyes out. Rhoda loves me as much as I love her. We are both going to pray that we may live together all our lives and die the same day.

"Aunt Elizabeth always puts up my school dinner for me. She won't give me anything but plain bread and butter but she cuts good thick slices and the butter is thick too and never has the horrid taste Ellen Greene's butter used to have. And Aunt Laura slips in a cooky or an apple turnover when Aunt Elizabeth's back is turned. Aunt Elizabeth says apple turnovers are not helthy for me. Why is it that the nicest things never are helthy, Father? Ellen Greene used to say that too.

"My teacher's name is Miss Brownell. I don't like the cut of her jib. (That is a naughtical frays that Cousin Jimmy uses. I know frays is not spelled right but there is no dixonary at New Moon but that is the sound of it.) She is too sarkastik and she likes to make you rediklus. Then she laughs at you in a disagreeable, snorting way. But I forgave her for slapping me and I took a bouquet to her to school next day to make up. She receeved it very coldly and let it fade on her desk. In a story she would have wepped on my neck. I don't know whether it is any use forgiving people or not. Yes, it is, it makes you feel more comfortable yourself. You never had to ware baby aprons and sunbonnets because you were a boy so you can't understand how I feel about it. And the aprons are made of such good stuff that they will never ware out and it will be years before I grow out of them. But I have a white dress for church with a black silk sash and a white leghorn hat with black bows and black kid slippers, and I feel very elegant in them. I wish I could have a bang but Aunt Elizabeth will not hear of it. Rhoda told me I had beautiful eyes. I wish she hadn't. I have always suspekted my eyes were beautiful but I was not sure. Now that I know they are I'm afraid I'll always be wondering if people notis it. I have to go to bed at half past eight and I don't like it but I sit up in bed and look out of the window till it gets dark, so I get square with Aunt Elizabeth that way, and I listen to the sound the sea makes. I like it now though it always makes me feel sorrowful, but it's a kind of a nice sorrow. I have to sleep with Aunt Elizabeth and I don't like that either because if I move ever so little she says I figit but she admits that I don't kick. And she won't let me put the window up. She doesn't like fresh air or light in the house. The parlour is dark as a toomb. I went in one day and rolled up all the blinds and Aunt Elizabeth was horrified and called me a little hussy and gave me the Murray look. You would suppose I had committed a crime. I felt so insulted that I came up to the garret and wrote a deskription of myself being drowned on a letter-bill and then I felt better. Aunt Elizabeth said I was never to go into the parlour again without permission but I don't want to. I am afraid of the parlour. All the walls are hung over with pictures of our ancestors and there is not one good-looking person among them except Grand-father Murray who looks handsome but very cross. The spare-room is upstairs and is just as gloomy as the parlour. Aunt Elizabeth only lets distingwished people sleep there. I like the kitchen in daytime, and the garret and the cook-house and the sitting-room and the hall because of the lovely red front door and I love the dairy, but I don't like the other New Moon rooms. Oh, I forgot the cellar cubbord. I love to go down there and look at the beautiful rows of jam and jelly pots. Cousin Jimmy says it is a New Moon tradishun that the jam pots must never be empty. What a lot of tradishuns New Moon has. It is a very spashus house, and the trees are lovely. I have named the three lombardys at the garden gate the Three Princesses and I have named the old summer house Emily's Bower, and the big apple-tree by the old orchard gate the Praying Tree because it holds up its long boughs exactly as Mr Dare holds up his arms in church when he prays.

"Aunt Elizabeth has given me the little right hand top burow drawer to keep my things in.

"Oh, Father dear, I have made a great diskoverry. I wish I had made it when you were alive for I think you'd have liked to know. I can write poetry. Perhaps I could have written it long ago if I'd tried. But after that first day in school I felt I was bound in honnour to try and it is so easy. There is a little curly black-covered book in Aunt Elizabeth's bookcase called Thompson's Seasons and I decided I would write a poem on a season and the first three lines are,

 

Now Autumn comes ripe with the peech and pear,
The sportsman's horn is heard throughout the land,
And the poor partridge fluttering falls dead.

 

"Of course there are no peeches in P. E. Island and I never heard a sportsman's horn here either, but you don't have to stick too close to facts in poetry. I filled a whole letter-bill with it and then I ran and read it to Aunt Laura. I thought she would be overjoyed to find she had a niece who could write poetry but she took it very coolly and said it didn't sound much like poetry. It's blank verse I cryed. Very blank said Aunt Elizabeth sarkastically though I hadn't asked her opinion. But I think I will write ryming poetry after this so that there will be no mistake about it and I intend to be a poetess when I grow up and become famus. I hope also that I will be silph-like. A poetess should be silph-like. Cousin Jimmy makes poetry too. He has made over 1000 pieces but he never writes any down but carries them in his head. I offered to give him some of my letter-bills—for he is very kind to me—but he said he was too old to learn new habits. I haven't heard any of his poetry yet because the spirit hasn't moved him but I am very angshus to and I am sorry they don't fatten the pigs till the fall. I like Cousin Jimmy more and more all the time, except when he takes his queer spells of looking and talking. Then he fritens me but they never last long. I have read a good many of the books in the New Moon bookcase. A history of the reformation in France, very relijus and sad. A little fat book deskribing the months in England and the afoursaid Thompson's Seasons. I like to read them because they have so many pretty words in them, but I don't like the feel of them. The paper is so rough and thick it makes me creepy. Travels in Spain, very fassinating, with lovely smooth shiny paper, a missionary book on the Pacific Islands, pictures very interesting because of the way the heathen chiefs arrange their hair. After they became Christians they cut it off which I think was a pity. Mrs Hemans Poems. I am passhunately fond of poetry, also of stories about desert islands. Rob Roy, a novel, but I only read a little of it when Aunt Elizabeth said I must stop because I must not read novels. Aunt Laura says to read it on the sly. I don't see why it wouldn't be all right to obey Aunt Laura but I have a queer feeling about it and I haven't yet. A lovely Tiger-book, full of pictures and stories of tigers that make me feel so nice and shivery. The Royal Road, also relijus but some fun in it so very good for Sundays. Reuben and Grace, a story but not a novel, because Reuben and Grace are brother and sister and there is no getting married. Little Katy and Jolly Jim, same as above but not so exciting and traggic. Nature's Mighty Wonders which is good and improving. Alice in Wonderland, which is perfectly lovely, and the Memoirs of Anzonetta B. Peters who was converted at seven and died at twelve. When anybody asked for a question she answered with a hym verse. That is after she was converted. Before that she spoke English. Aunt Elizabeth told me I ought to try to be like Anzonetta. I think I might be an Alice under more faverable circumstances but I am sure I can never be as good as Anzonetta was and I don't believe I want to be because she never had any fun. She got sick as soon as she was converted and suffered aggonies for years. Besides I am sure that if I talked hyms to people it would exite ridicule. I tried it once. Aunt Laura asked me the other day if I would like blue stripes better than red in my next winter's stockings and I answered just as Anzonetta did when asked a similar question, only different, about a sack,

 

Jesus Thy blood and rightchusness
My beauty are, my glorious dress.

 

And Aunt Laura said was I crazy and Aunt Elizabeth said I was irreverent. So I know it wouldn't work. Besides, Anzonetta couldn't eat anything for years having ulsers in her stomach and I am pretty fond of good eating.

"Old Mr Wales on the Derry Pond Road is dying of canser. Jennie Strang says his wife has her morning all ready.

"I wrote a biograffy of Saucy Sal to-day and a deskripshun of the road in Lofty John's bush. I will pin them to this letter so you can read them too. Good night my beloved Father.

"Yours most obedient humble servant,

"Emily B. Starr.

"P. S. I think Aunt Laura loves me. I like to be loved, Father dear.

"E. B. S."