第32章

Kitty is a beauty, and doesn't need to be made 'purty wid cows'--a feat that the old Irishman proposed to do when he was consummating a match for his plain daughter. But the gifts of the gods seldom come singly, and Kitty is well fortuned as well as beautiful; fifty pounds, her own bedstead and its fittings, a cow, a pig, and a web of linen are supposed to be the dazzling total, so that it is small wonder her deluderin' ways are maddening half the boys in Ballyfuchsia and Dooclone. She has the prettiest pair of feet in the County Kerry, and when they are encased in a smart pair of shoes, bought for her by Art's rival, the big constable from Ballyfuchsia barracks, how they do twinkle and caper over that half barn door, to be sure! Even Murty, the blind fiddler, seems intoxicated by the plaudits of the bystanders, and he certainly never plays so well for anybody as for Kitty of the Meadow.

Blindness is still common in Ireland, owing to the smoke in these wretched cabins, where sometimes a hole in the roof is the only chimney; and although the scores of blind fiddlers no longer traverse the land, finding a welcome at all firesides, they are still to be found in every community. Blind Murty is a favourite guest at the Rooney's cabin, which is never so full that there is not room for one more. There is a small wooden bed in the main room, a settle that opens out at night, with hens in the straw underneath, where a board keeps them safely within until they have finished laying. There are six children besides Art, and my ambition is to photograph, or, still better, to sketch the family circle together; the hens cackling under the settle, the pig ('him as pays the rint') snoring in the doorway, as a proprietor should, while the children are picturesquely grouped about. I never succeed, because Mrs. Rooney sees us as we turn into the lane, and calls to the family to make itself ready, as quality's comin' in sight. The older children can scramble under the bed, slip shoes over their bare feet, and be out in front of the cabin without the loss of a single minute. 'Mickey jew'l,' the baby, who is only four, but 'who can handle a stick as bould as a man,' is generally clad in a ragged skirt, slit every few inches from waist to hem, so that it resembles a cotton fringe. The little coateen that tops this costume is sometimes, by way of diversion, transferred to the dog, who runs off with it; but if we appear at this unlucky moment, there is a stylish yoke of pink ribbon and soiled lace which one of the girls pins over Mickey jew'l's naked shoulders.

Moya, who has this eye for picturesque propriety, is a great friend of mine, and has many questions about the Big Country when we take our walks. She longs to emigrate, but the time is not ripe yet.

"The girls that come back has a lovely style to thim," she says wistfully, "but they're so polite they can't live in the cabins anny more and be contint." The 'boys' are not always so improved, she thinks. "You'd niver find a boy in Ballyfuchsia that would say annything rude to a girl; but when they come back from Ameriky, it's too free they've grown intirely." It is a dull life for them, she says, when they have once been away; though to be sure Ballyfuchsia is a pleasanter place than Dooclone, where the priest does not approve of dancing, and, however secretly you may do it, the curate hears of it, and will speak your name in church.

It was Moya who told me of Kitty's fortune. "She's not the match that Farmer Brodigan's daughter Kathleen is, to be sure; for he's a rich man, and has given her an iligant eddication in Cork, so that she can look high for a husband. She won't be takin' up wid anny of our boys, wid her two hundred pounds and her twenty cows and her pianya. Och, it's a thriminjus player she is, ma'am. She's that quick and that strong that you'd say she wouldn't lave a string on it."

Some of the young men and girls never see each other before the marriage, Moya says. "But sure," she adds shyly, "I'd niver be contint with that, though some love matches doesn't turn out anny better than the others."

"I hope it will be a love match with you, and that I shall dance at your wedding, Moya," I say to her smilingly.

"Faith, I'm thinkin' my husband's intinded mother died an old maid in Dublin," she answers merrily. "It's a small fortune I'll be havin' and few lovers; but you'll be soon dancing at Kathleen Brodigan's wedding, or Kitty O'Rourke's, maybe."

I do not pretend to understand these humble romances, with their foundations of cows and linen, which are after all no more sordid than bank stock and trousseaux from Paris. The sentiment of the Irish peasant lover seems to be frankly and truly expressed in the verses:--'Oh! Moya's wise and beautiful, has wealth in plenteous store, And fortune fine in calves and kine, and lovers half a score;

Her faintest smile would saints beguile, or sinners captivate, Oh! I think a dale of Moya, but I'll surely marry Kate.

. . . . .

'Now to let you know the raison why I cannot have my way, Nor bid my heart decide the part the lover must obey--The calves and kine of Kate are nine, while Moya owns but eight, So with all my love for Moya I'm compelled to marry Kate!'

I gave Moya a lace neckerchief the other day, and she was rarely pleased, running into the cabin with it and showing it to her mother with great pride. After we had walked a bit down the boreen she excused herself for an instant, and, returning to my side, explained that she had gone back to ask her mother to mind the kerchief, and not let the 'cow knock it'!

Lady Kilbally tells us that some of the girls who work in the mills deny themselves proper food, and live on bread and tea for a month, to save the price of a gay ribbon. This is trying, no doubt, to a philanthropist, but is it not partly a starved sense of beauty asserting itself? If it has none of the usual outlets, where can imagination express itself if not in some paltry thing like a ribbon?