The Story of a Bad Boy (Children's Book). Thomas Bailey Aldrich
in 1614, and was much charmed by the beauty of Rivermouth, which at that time was covered with wild strawberry-vines.
Rivermouth figures prominently in all the colonial histories. Every other house in the place has its tradition more or less grim and entertaining. If ghosts could flourish anywhere, there are certain streets in Rivermouth that would be full of them. I don't know of a town with so many old houses. Let us linger, for a moment, in front of the one which the Oldest Inhabitant is always sure to point out to the curious stranger.
It is a square wooden edifice, with gambrel roof and deep-set window-frames. Over the windows and doors there used to be heavy carvings—oak-leaves and acorns, and angels' heads with wings spreading from the ears, oddly jumbled together; but these ornaments and other outward signs of grandeur have long since disappeared. A peculiar interest attaches itself to this house, not because of its age, for it has not been standing quite a century; nor on account of its architecture, which is not striking—but because of the illustrious men who at various periods have occupied its spacious chambers.
In 1770 it was an aristocratic hotel. At the left side of the entrance stood a high post, from which swung the sign of the Earl of Halifax. The landlord was a stanch loyalist—that is to say, he believed in the king, and when the overtaxed colonies determined to throw off the British yoke, the adherents to the Crown held private meetings in one of the back rooms of the tavern. This irritated the rebels, as they were called; and one night they made an attack on the Earl of Halifax, tore down the signboard, broke in the window-sashes, and gave the landlord hardly time to make himself invisible over a fence in the rear.
For several months the shattered tavern remained deserted. At last the exiled innkeeper, on promising to do better, was allowed to return; a new sign, bearing the name of William Pitt, the friend of America, swung proudly from the door-post, and the patriots were appeased. Here it was that the mail-coach from Boston twice a week, for many a year, set down its load of travelers and gossip. For some of the details in this sketch, I am indebted to a recently published chronicle of those times.
It is 1782. The French fleet is lying in the harbor of Rivermouth, and eight of the principal officers, in white uniforms trimmed with gold lace, have taken up their quarters at the sign of the William Pitt. Who is this young and handsome officer now entering the door of the tavern? It is no less a personage than the Marquis Lafayette, who has come all the way from Providence to visit the French gentlemen boarding there. What a gallant-looking cavalier he is, with his quick eyes and coal black hair! Forty years later he visited the spot again; his locks were gray and his step was feeble, but his heart held its young love for Liberty.
Who is this finely dressed traveler alighting from his coach-and-four, attended by servants in livery? Do you know that sounding name, written in big valorous letters on the Declaration of Independence—written as if by the hand of a giant? Can you not see it now? JOHN HANCOCK. This is he.
Three young men, with their valet, are standing on the doorstep of the William Pitt, bowing politely, and inquiring in the most courteous terms in the world if they can be accommodated. It is the time of the French Revolution, and these are three sons of the Duke of Orleans—Louis Philippe and his two brothers. Louis Philippe never forgot his visit to Rivermouth. Years afterwards, when he was seated on the throne of France, he asked an American lady, who chanced to be at his court, if the pleasant old mansion were still standing.
But a greater and a better man than the king of the French has honored this roof. Here, in 1789, came George Washington, the President of the United States, to pay his final complimentary visit to the State dignitaries. The wainscoted chamber where he slept, and the dining-hall where he entertained his guests, have a certain dignity and sanctity which even the present Irish tenants cannot wholly destroy.
During the period of my reign at Rivermouth, an ancient lady, Dame Jocelyn by name, lived in one of the upper rooms of this notable building. She was a dashing young belle at the time of Washington's first visit to the town, and must have been exceedingly coquettish and pretty, judging from a certain portrait on ivory still in the possession of the family. According to Dame Jocelyn, George Washington flirted with her just a little bit—in what a stately and highly finished manner can be imagined.
There was a mirror with a deep filigreed frame hanging over the mantel-piece in this room. The glass was cracked and the quicksilver rubbed off or discolored in many places. When it reflected your face you had the singular pleasure of not recognizing yourself. It gave your features the appearance of having been run through a mince-meat machine. But what rendered the looking-glass a thing of enchantment to me was a faded green feather, tipped with scarlet, which drooped from the top of the tarnished gilt mouldings. This feather Washington took from the plume of his three-cornered hat, and presented with his own hand to the worshipful Mistress Jocelyn the day he left Rivermouth forever. I wish I could describe the mincing genteel air, and the ill-concealed self-complacency, with which the dear old lady related the incident.
Many a Saturday afternoon have I climbed up the rickety staircase to that dingy room, which always had a flavor of snuff about it, to sit on a stiff-backed chair and listen for hours together to Dame Jocelyn's stories of the olden time. How she would prattle! She was bedridden—poor creature!—and had not been out of the chamber for fourteen years. Meanwhile the world had shot ahead of Dame Jocelyn. The changes that had taken place under her very nose were unknown to this faded, crooning old gentlewoman, whom the eighteenth century had neglected to take away with the rest of its odd traps. She had no patience with newfangled notions. The old ways and the old times were good enough for her. She had never seen a steam engine, though she had heard “the dratted thing” screech in the distance. In her day, when gentlefolk traveled, they went in their own coaches. She didn't see how respectable people could bring themselves down to “riding in a car with rag-tag and bobtail and Lord-knows-who.” Poor old aristocrat The landlord charged her no rent for the room, and the neighbors took turns in supplying her with meals. Towards the close of her life—she lived to be ninety-nine—she grew very fretful and capricious about her food. If she didn't chance to fancy what was sent her, she had no hesitation in sending it back to the giver with “Miss Jocelyn's respectful compliments.”
But I have been gossiping too long—and yet not too long if I have impressed upon the reader an idea of what a rusty, delightful old town it was to which I had come to spend the next three or four years of my boyhood.
A drive of twenty minutes from the station brought us to the door-step of Grandfather Nutter's house. What kind of house it was, and what sort of people lived in it, shall be told in another chapter.
Chapter Five—The Nutter House and the Nutter Family
The Nutter House—all the more prominent dwellings in Rivermouth are named after somebody; for instance, there is the Walford House, the Venner House, the Trefethen House, etc., though it by no means follows that they are inhabited by the people whose names they bear—the Nutter House, to resume, has been in our family nearly a hundred years, and is an honor to the builder (an ancestor of ours, I believe), supposing durability to be a merit. If our ancestor was a carpenter, he knew his trade. I wish I knew mine as well. Such timber and such workmanship don't often come together in houses built nowadays.
Imagine a low-studded structure, with a wide hall running through the middle. At your right band, as you enter, stands a tall black mahogany clock, looking like an Egyptian mummy set up on end. On each side of the hall are doors (whose knobs, it must be confessed, do not turn very easily), opening into large rooms wainscoted and rich in wood-carvings about the mantel-pieces and cornices. The walls are covered with pictured paper, representing landscapes and sea-views. In the parlor, for example, this enlivening figure is repeated all over the room. A group of English peasants, wearing Italian hats, are dancing on a lawn that abruptly resolves itself into a sea-beach, upon which stands a flabby fisherman (nationality unknown), quietly hauling in what appears to be a small whale, and totally regardless of the dreadful naval combat going on just beyond the end of his fishing-rod. On the other side of the ships is the main-land again, with the same peasants dancing.