A Safety Match — Key Ideas to Explore

Daphne was the eldest of the flock, and for want of a mother dispensed justice and equity to the rest of the family from the heights of nineteen. For the moment she was assisting the organist, who had inadvertently capsized a portion of his keyboard. Now she returned to the table.

"What is it, rabble?" she inquired maternally.

A full-throated chorus informed her, and the arbitress detached the threads of the dispute with effortless dexterity.

"You said you thought he was asking for Miss Bun and not Bung?" she remarked to the accused.

"Yes--that was all," began Nicky. "You see," she continued pathetically, "they're all so beastly unjust to me, and----"

Daphne picked up her small sister's pile of completed Families and turned them over.

"You couldn't have thought Stiffy wanted _Buns_," she said in measured tones, "because they're here. You collected them yourself. You've cheated again. Upstairs, and no jam till Wednesday!"

It is a tribute to Miss Vereker's disciplinary methods that the turbulent Nicky rose at once to her feet and, with a half-tearful, half-defiant reference to her Satanic inhabitant, left the room and departed upstairs, there to meditate on a Bun-strewn past and a jamless future.

Daphne Vereker was perhaps the most beautiful of an extraordinarily attractive family. Her full name was Daphne Margaret. Her parents, whether from inherent piety or on the _lucus a non lucendo_ principle, had endowed their offspring with the names of early saints and martyrs. The pagan derivative Daphne was an exception. It had been the name of Brian Vereker's young bride, and had been bestowed, uncanonically linked with that of a saint of blameless antecedents, upon the first baby which had arrived at the Rectory. Mrs Vereker had died eleven years later, two hours after the birth of that fertile genius Anthony Cuthbert, and Brian Vereker, left to wrestle with the upbringing of six children on an insufficient stipend in a remote country parish, had come to lean more and more, in the instinctive but exacting fashion of lonely man, upon the slim shoulders of his eldest daughter.

There are certain attributes of woman before which the male sex, whose sole knowledge of the ways of life is derived from that stern instructor Experience, can only stand and gape in reverent awe. When her mother died Daphne Vereker was a tow-headed, long-legged, irresponsible marauder of eleven. In six months she looked like a rather prim little nursery-governess: in two years she could have taken the chair at a Mother's meeting. Circumstance is a great forcing-house, especially where women are concerned. Her dreamy, unpractical, affectionate father, oblivious of the expectant presence in the offing of numerous female relatives-in-law, had remarked in sober earnest to his little daughter, walking erect by his side in her short black frock on the way home from the funeral:--"You and I will have to bring up the children between us now, Daphne;" and the child, with an odd thrill of pride at being thus promoted to woman's highest office at the age of eleven, had responded with the utmost gravity--

"You had better stick to the parish, dad, and I'll manage the kids."

And she had done it. As she presides at the table this Saturday evening, with her round chin resting on her hands, surveying the picturesque crew of ragamuffins before her, we cannot but congratulate her on the success of her methods, whatever those may be. On her right lolls the apple of her eye, the eldest son, Ally. He is a handsome boy, with a ready smile and a rather weak mouth. He is being educated--God knows by what anxious economies in other directions--at a great public school. When he leaves, which will be shortly, the money will go to educate Stiffy, who is rising fourteen.

Next to Ally sprawls Cilly, an amorphous schoolgirl with long rippling hair and great grey eyes that are alternately full of shy inquiry and hoydenish exuberance. Then comes the chair recently vacated by the Madonna-like Nicky; then the ruddy countenance and cheerful presence of the sunny-tempered Stiffy, completing the circle. In the corner Master Anthony Cuthbert, cherubic and rapturous, is engaged, with every finger and toe in action, upon the final frenzy of the "Hallelujah Chorus." The number 6 stands upon the mantelpiece, for the recital is drawing to a close.