The Collected Stories of Eudora Welty - Eudora Welty [166]
"Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone...."
Then the wave moved up, towered, and came drowning down over her stuck-up head.
Through the years Cassie had come just before Virgie Rainey for her music lesson, or, at intervals, just after her. To start with, Cassie was so poor in music and Virgie so good (the opposite of themselves in other things!) that Miss Eckhart with her methodical mind might have coupled them on purpose. They went on Mondays and Thursdays at 3:30 and 4:00 and, after school was out and up until the recital, at 9:30 and 10:00 in the morning. So punctual and so formidable was Miss Eckhart that all the little girls passed, one going and one coming, through the beaded curtains mincing like strangers. Only Virgie would let go the lights of mockery from her eyes.
Though she was tireless as a spider, Miss Eckhart waited so unbudgingly for her pupils that from the back she appeared asleep in her studio. How much later had it occurred to Cassie that "the studio" itself, the only one ever heard of in Morgana, was nothing more than a room that was rented? Rented because poor Miss Snowdie MacLain needed the money?
Then it seemed a dedicated place. The black-painted floor was bare even of matting, so as not to deaden any sound of music. There was in the very center a dark squarish piano (ebony, they all thought) with legs twisted like elephant legs, bearing many pounds of sheet music on its back—just to look heavy there, Cassie thought, for whose music was it? The yellow keys, some split and others in the bass coffee-colored, always had a little film of sweat. There was a stool spun up high, with a seat worn away like a bowl. Beside it, Miss Eckhart's chair was the kind of old thing most people placed by their telephones.
There were gold chairs, their legs brittle and set the way pulled candy was, sliding across the floor at a touch, and forbidden—they were for the recital audience; their fragility was intentional. There were taboret tables with little pink statuettes and hydrangea-colored, horny shells. Beaded curtains in the doorway stirred and clicked now and then during a lesson, as if someone were coming, but it signified no more than the idle clicking redbirds made in the free outdoors, if it was not time for a pupil. (The MacLains lived largely upstairs, except for the kitchen, and came in at the side.) The beads were faintly sweet-smelling, and made you think of long strings of wine-balls and tiny candy bottles filled with violet liquid, and licorice sticks. The studio was in some ways like the witch's house in Hansel and Gretel, Cassie's mother said, "including the witch." On the right-hand corner of the piano stood a small, mint-white bust of Beethoven, all softened around the edges with the nose smoothed down, as if a cow had licked it.
Miss Eckhart, a heavy brunette woman whose age was not known, sat during the lessons on the nondescript chair, which her body hid altogether, in apparent disregard for body and chair alike. She was alternately very quiet and very alert, and sometimes that seemed to be because she hated flies. She held a swatter in her down-inclined lap, gracefully and tenderly as a fan, her hard, round, short fingers surprisingly forgetful-looking. All at once as you played