A Companion For The Winter

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Title:     A Companion For The Winter
Author: Helen Hunt Jackson [More Titles by Jackson]

I have engaged a companion for the winter. It would be simply a superfluous egotism to say this to the public, except that I have a philanthropic motive for doing so. There are many lonely people who are in need of a companion possessing just such qualities as his; and he has brothers singularly like himself, whose services can be secured. I despair of doing justice to him by any description. In fact, thus far, I discover new perfections in him daily, and believe that I am yet only on the threshold of our friendship.

In conversation he is more suggestive than any person I have ever known. After two or three hours alone with him, I am sometimes almost startled to look back and see through what a marvellous train of fancy and reflection he has led me. Yet he is never wordy, and often conveys his subtlest meaning by a look.

He is an artist, too, of the rarest sort. You watch the process under which his pictures grow with incredulous wonder. The Eastern magic which drops the seed in the mould, and bids it shoot up before your eyes, blossom, and bear its fruit in an hour, is tardy and clumsy by side of the creative genius of my companion. His touch is swift as air; his coloring is vivid as light; he has learned, I know not how, the secrets of hidden places in all lands; and he paints, now a tufted clump of soft cocoa palms; now the spires and walls of an iceberg, glittering in yellow sunlight; now a desolate, sandy waste, where black rocks and a few crumbling ruins are lit up by a lurid glow; then a cathedral front, with carvings like lace; then the skeleton of a wrecked ship, with bare ribs and broken masts,--and all so exact, so minute, so life-like, that you believe no man could paint thus any thing which he had not seen.

He has a special love for mosaics, and a marvellous faculty for making drawings of curious old patterns. Nothing is too complicated for his memory, and he revels in the most fantastic and intricate shapes. I have known him in a single evening throw off a score of designs, all beautiful, and many of them rare: fiery scorpions on a black ground; pale lavender filagrees over scarlet; white and black squares blocked out as for tiles of a pavement, and crimson and yellow threads interlaced over them; odd Chinese patterns in brilliant colors, all angles and surprises, with no likeness to any thing in nature; and exquisite little bits of landscape in soft grays and whites. Last night was one of his nights of reminiscences of the mosaic-workers. A furious snow-storm was raging, and, as the flaky crystals piled up in drifts on the window-ledges, he seemed to catch the inspiration of their law of structure, and drew sheet after sheet of crystalline shapes; some so delicate and filmy that it seemed as if a jar might obliterate them; some massive and strong, like those in which the earth keeps her mineral treasures; then, at last, on a round charcoal disk, he traced out a perfect rose, in a fragrant white powder, which piled up under his fingers, petal after petal, circle after circle, till the feathery stamens were buried out of sight. Then, as we held our breath for fear of disturbing it, with a good-natured little chuckle, he shook it off into the fire, and by a few quick strokes of red turned the black charcoal disk into a shield gay enough for a tournament.

He has talent for modelling, but this he exercises more rarely. Usually, his figures are grotesque rather than beautiful, and he never allows them to remain longer than for a few moments, often changing them so rapidly under your eye that it seems like jugglery. He is fondest of doing this at twilight, and loves the darkest corner of the room. From the half-light he will suddenly thrust out before you a grinning gargoyle head, to which he will give in an instant more a pair of spider legs, and then, with one roll, stretch it out into a crocodile, whose jaws seem so near snapping that you involuntarily draw your chair further back. Next, in a freak of ventriloquism, he startles you still more by bringing from the crocodile's mouth a sigh, so long drawn, so human, that you really shudder, and are ready to implore him to play no more tricks. He knows when he has reached this limit, and soothes you at once by a tender, far-off whisper, like the wind through pines, sometimes almost like an Aeolian harp; then he rouses you from your dreams by what you are sure is a tap at the door. You turn, speak, listen; no one enters; the tap again. Ah! it is only a little more of the ventriloquism of this wonderful creature. You are alone with him, and there was no tap at the door.

But when there is, and the friend comes in, then my companion's genius shines out. Almost always in life the third person is a discord, or at least a burden; but he is so genial, so diffusive, so sympathetic, that, like some tints by which painters know how to bring out all the other colors in a picture, he forces every one to do his best. I am indebted to him already for a better knowledge of some men and women with whom I had talked for years before to little purpose. It is most wonderful that he produces this effect, because he himself is so silent; but there is some secret charm in his very smile which puts people _en rapport_ with each other, and with him at once.

I am almost afraid to go on with the list of the things my companion can do. I have not yet told the half, nor the most wonderful; and I believe I have already overtaxed credulity. I will mention only one more,--but that is to me far more inexplicable than all the rest. I am sure that it belongs, with mesmerism and clairvoyance, to the domain of the higher psychological mysteries. He has in rare hours the power of producing the portraits of persons whom you have loved, but whom he has never seen. For this it is necessary that you should concentrate your whole attention on him, as is always needful to secure the best results of mesmeric power. It must also be late and still. In the day, or in a storm, I have never known him to succeed in this. For these portraits he uses only shadowy gray tints. He begins with a hesitating outline. If you are not tenderly and closely in attention, he throws it aside; he can do nothing. But if you are with him, heart and soul, and do not take your eyes from his, he will presently fill out the dear faces, full, life-like, and wearing a smile, which makes you sure that they too must have been summoned from the other side, as you from this, to meet on the shadowy boundary between flesh and spirit. He must see them as clearly as he sees you; and it would be little more for his magic to do if he were at the same moment showing to their longing eyes your face and answering smile.

But I delay too long the telling of his name. A strange hesitancy seizes me. I shall never be believed by any one who has not sat as I have by his side. But, if I can only give to one soul the good-cheer and strength of such a presence, I shall be rewarded.

His name is Maple Wood-fire, and his terms are from eight to twelve dollars a month, according to the amount of time he gives. This price is ridiculously low, but it is all that any member of the family asks; in fact, in some parts of the country, they can be hired for much less. They have connections by the name of Hickory, whose terms are higher; but I cannot find out that they are any more satisfactory. There are also some distant relations, named Chestnut and Pine, who can be employed in the same way, at a much lower rate; but they are all snappish and uncertain in temper.

To the whole world I commend the good brotherhood of Maple, and pass on the emphatic indorsement of a blessed old black woman who came to my room the other day, and, standing before the rollicking blaze on my hearth, said, "Bless yer, honey, yer's got a wood-fire. I'se allers said that, if yer's got a wood-fire, yer's got meat, an' drink, an' clo'es."

[The end]
Helen Hunt Jackson's essay: Companion For The Winter

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