Blade-O'-Grass. Golden Grain. and Bread and Cheese and Kisses.. Farjeon Benjamin Leopold
as Tom Beadle and Blade-o'-Grass; and a curious commentary is made on it the next day by Blade-o'-Grass, who, dilating upon its wonders and entrancements, declares that she 'never seed sich a thing in all her born days.' There are of course in the piece a painfully-virtuous wife, a desperate villain, to whom murder is child's play, a delirium-tremens beggar, a Good Young Man, and a vilified Jew; and as these characters play their parts, Blade-o'-Grass thrills and quivers with delicious excitement. Tom Beadle also enters into the excitement of the representation, and stamps and claps his hands and whistles as vigorously as any one there. But when the 'strong domestic drama' is concluded, and the glories of the burlesque are unfolded to the ravished senses of Blade-o'-Grass, then, indeed, is she in heaven. Never has she conceived anything so enchanting as this. It is the first fairy story that has ever been presented to her. How she screams over the meaningless songs! How she devours with her eyes the display of female limbs! 'O, 'ow lovely, Tom!' she whispers. 'O, don't I wish I was them!'
'You'd look as well as any of 'em, Bladergrass,' says Tom, who knows everything, 'if you was took in 'and, and if you could darnce.'
'O no, Tom-O no!' exclaims Blade-o'-Grass: 'I ain't got sich legs.'
Tom laughs, and whispers confidentially that 'them legs ain't all their own. He knows a cove who knows a balley-gal, and she pads her legs like one o'clock.' Blade-o'-Grass, in her heart of hearts, can't believe it; but she is too much absorbed in the performance to enter into argument. So the pageant passes before her eyes until all the songs are sung and all the dances danced; and when the curtain falls upon the brilliant last scene, she looks solemnly at Tom, and a great sob escapes her because it is all over. She can scarcely repress her tears. It is a wondrous night for Blade-o'-Grass, and lives in her memory for long afterwards. Tom Beadle proposes 'a eel supper,' and they sit in state, like the best nobles in the land, in a dirty box in a dirty eel-pie shop; and as they eat their eels off a dirty plate, with a dirty spoon and fork, Blade-o'-Grass looks up to her companion as to a god; and Tom, noticing the girl's sparkling eyes and flushed cheeks, says, with an approving nod, 'I'm blessed if you won't beat Poll Buttons into fits.' Then they go home, and Blade-o'-Grass dreams that she is an angel hanging from the flies.
That first night at a theatre filled Blade-o'-Grass with a new ambition, and her better prospects inspired her with confidence. She determined to learn to dance.
You will, I am sure, be amazed to hear, that every night in Stoney-alley, when the weather was in any way propitious, there was a ball-an open-air ball; the orchestra, an Italian organ-grinder; the company, nearly all the dirty boys and girls in the neighbourhood. At a certain hour every evening an Italian organ-grinder, on whose dark face a fixed expression of stolid gloomy melancholy for ever rested, made his appearance in Stoney-alley; and, as if he were a lost soul, and this agony was his penance, ground out of his afflicted organ a string of waltzes and polkas and quadrilles, so inexpressibly dismal that the very dogs howled in despair, and fled. But directly the first note sounded-and that first note always came out with a wail-the children, from two years old and upwards, began to congregate, and without any curtseying, or bowing, or engaging of partners, the strangest ball commenced that ever was seen.
Girls with babies in their arms glided round and round in the entrancing waltz; children who could scarcely toddle toddled round; and young ladies without encumbrances clasped each other by the waist, and spun round in a state of beatific bliss. When the waltz music ended with a groan, and the polka commenced with a wheeze, the big children hopped and the toddlers toddled in perfect contentment. Then came the quadrilles, in which many new figures were introduced, which Belgravia might have profited by. But the strangest dance of all was a Scotch reel, which, by some unearthly means, had got into this decrepit organ, and which, being set to work by the inexorable handle, came out of its hiding-place spasmodically, and with stitches in its side. It was a sight to remember to see these ragged children dance this Scotch reel, with their toes up to their knees, their right arms elevated above their heads, and their left hands stuck in their sides as if they grew there. Blade-o'-Grass had never had courage to join in the revels; she had been too ragged and forlorn to claim equality with even this ragged and forlorn troop. But now her prospects were brightening, and her ambition was roused. The very evening following that on which she visited the theatre she boldly joined the dancers. And there she hopped and twirled and glided until the music ceased; and every evening thereafter she made her appearance at the entertainment as punctually as some people attend their places of worship, and with more devotion than many. She was looked upon as a guest of high distinction at the ball, for she was liberal with her farthings and halfpence. In course of time she became one of the very best dancers in the alley, and often and often dreamt that she was a ballet-girl, and was twirling before an admiring audience, in the shortest of short spangled skirts, and the pinkest of pink legs.
These were the happiest days she had ever known. Now and then the tiger set up its claims, and was not satisfied; but these occasions were very rare. She went to the theatre often, and sometimes treated Tom Beadle, who did not show a stupid pride and independence. She sold flowers in the season, and lived how she could when there were no flowers to sell. 'I wish they growed all the yeer round,' she said to Tom many and many a time. She and Tom were always together, and it was understood that they had 'taken up with one another.'
This being an interlude, in which the promise set forth has been faithfully carried out-for dances and flowers have been introduced in profusion-it will perhaps be considered out of place to mention that, excepting that she knew how to speak an intelligible language, Blade-o'-Grass was as ignorant of morals and religion as if she had been a four-footed animal. But it is necessary to state this, or you might condemn her unjustly, and look down upon her uncharitably. And while she grew in deeper and deeper ignorance, how the great world laboured, in which she lived and moved and had her being! One section was in agony because a man of science had by his writings thrown doubt on the grand story of the Creation, and had attempted to prove that Adam and Eve were not created; and nine-tenths of the people shrunk in horror from a man who denied the truth of biblical miracles. Yet one and all believed in a future state-a better one than this, a higher one than this, a holier one than this-to be earned by living a good life, and by doing unto others as we would others should do unto us. And Blade-o'-Grass had never raised her eyes and hands to God; she had never said a prayer.
PART II
THE PRISON WALL
Seven years have passed, and the curtain rises upon a high gloomy stone wall. Grouped about the pavement which skirts the wall are nearly a score of persons, waiting in a state of painful expectancy. They are waiting for friends and relatives; and this gloomy stone wall encloses a prison.
Although it is broad day, the aspect of the scene is inexpressibly depressing. It is September; but the treacherous month has crept upon November, and stolen one of its cheerless days, when dull sky and dull atmosphere conspire to send the spirits down to zero. Not that these unhappy mortals require any outward influence to render them miserable; their countenances and attitude show that clearly enough. There are among them young women, almost children, and they stand about the prison with pale faces and clasped hands, with eyes cast down to the earth. They exchange but few words; they have sufficient special occupation in their thoughts to render them indisposed for conversation. They are poorly clad, and some of them shiver as the damp wind steals round the massive wall which shuts out hope.
Near to the prison door are a young and an old woman-one seventeen years of age on her last birthday, the other seventy. The young woman has no covering on her head; the old woman wears an ancient bonnet, which was the fashion once upon a time. Her little wrinkled face is almost hidden in the bonnet, and her ancient cotton dress falls in such straight lines about her, that, but for the pale wrinkled face and the shrivelled hands that peep from out the folds of a faded shawl, it might reasonably have been supposed it covers the limbs of a child. The bonnet has moved several times in the direction of the girl-woman, as if its owner were curious about her companion; but the girl takes no notice. At length, a piping voice asks, 'Are you waiting for some one, my dear?'
The girl answers 'Yes,' but does not look at the questioner.
'Who for, my dear?'
No answer.
'You needn't mind me,' pipes the old woman; 'I don't mean any harm; and