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North of Boston

<h2> The Code </h2> THERE were three in the meadow by the brook Gathering up windrows, piling cocks of hay, With an eye always lifted toward the west Where an irregular sun-bordered cloud Darkly advanced with a perpetual dagger Flickering across its bosom. Suddenly One helper, thrusting pitchfork in the ground, Marched himself off the field and home. One stayed. The town-bred farmer failed to understand. "What is there wrong?" "Something you just now said." "What did I say?" "About our taking pains." "To cock the hay?—because it's going to shower? I said that more than half an hour ago. I said it to myself as much as you." "You didn't know. But James is one big fool. He thought you meant to find fault with his work. That's what the average farmer would have meant. James would take time, of course, to chew it over Before he acted: he's just got round to act." "He is a fool if that's the way he takes me." "Don't let it bother you. You've found out something. The hand that knows his business won't be told To do work better or faster—those two things. I'm as particular as anyone: Most likely I'd have served you just the same. But I know you don't understand our ways. You were just talking what was in your mind, What was in all our minds, and you weren't hinting. Tell you a story of what happened once: I was up here in Salem at a man's Named Sanders with a gang of four or five Doing the haying. No one liked the boss. He was one of the kind sports call a spider, All wiry arms and legs that spread out wavy From a humped body nigh as big's a biscuit. But work! that man could work, especially If by so doing he could get more work Out of his hired help. I'm not denying He was hard on himself. I couldn't find That he kept any hours—not for himself. Daylight and lantern-light were one to him: I've heard him pounding in the barn all night. But what he liked was someone to encourage. Them that he couldn't lead he'd get behind And drive, the way you can, you know, in mowing— Keep at their heels and threaten to mow their legs off. I'd seen about enough of his bulling tricks (We call that bulling). I'd been watching him. So when he paired off with me in the hayfield To load the load, thinks I, Look out for trouble. I built the load and topped it off; old Sanders Combed it down with a rake and says, 'O. K.' Everything went well till we reached the barn With a big catch to empty in a bay. You understand that meant the easy job For the man up on top of throwing down The hay and rolling it off wholesale, Where on a mow it would have been slow lifting. You wouldn't think a fellow'd need much urging Under these circumstances, would you now? But the old fool seizes his fork in both hands, And looking up bewhiskered out of the pit, Shouts like an army captain, 'Let her come!' Thinks I, D'ye mean it? 'What was that you said?' I asked out loud, so's there'd be no mistake, 'Did you say, Let her come?' 'Yes, let her come.' He said it over, but he said it softer. Never you say a thing like that to a man, Not if he values what he is. God, I'd as soon Murdered him as left out his middle name. I'd built the load and knew right where to find it. Two or three forkfuls I picked lightly round for Like meditating, and then I just dug in And dumped the rackful on him in ten lots. I looked over the side once in the dust And caught sight of him treading-water-like, Keeping his head above. 'Damn ye,' I says, 'That gets ye!' He squeaked like a squeezed rat. That was the last I saw or heard of him. I cleaned the rack and drove out to cool off. As I sat mopping hayseed from my neck, And sort of waiting to be asked about it, One of the boys sings out, 'Where's the old man?' 'I left him in the barn under the hay. If ye want him, ye can go and dig him out.' They realized from the way I swobbed my neck More than was needed something must be up. They headed for the barn; I stayed where I was. They told me afterward. First they forked hay, A lot of it, out into the barn floor. Nothing! They listened for him. Not a rustle. I guess they thought I'd spiked him in the temple Before I buried him, or I couldn't have managed. They excavated more. 'Go keep his wife Out of the barn.' Someone looked in a window, And curse me if he wasn't in the kitchen Slumped way down in a chair, with both his feet Stuck in the oven, the hottest day that summer. He looked so clean disgusted from behind There was no one that dared to stir him up, Or let him know that he was being looked at. Apparently I hadn't buried him (I may have knocked him down); but my just trying To bury him had hurt his dignity. He had gone to the house so's not to meet me. He kept away from us all afternoon. We tended to his hay. We saw him out After a while picking peas in his garden: He couldn't keep away from doing something." "Weren't you relieved to find he wasn't dead?" "No! and yet I don't know—it's hard to say. I went about to kill him fair enough." "You took an awkward way. Did he discharge you?" "Discharge me? No! He knew I did just right." <h2> The Generations of Men </h2> A GOVERNOR it was proclaimed this time, When all who would come seeking in New Hampshire Ancestral memories might come together. And those of the name Stark gathered in Bow, A rock-strewn town where farming has fallen off, And sprout-lands flourish where the axe has gone. Someone had literally run to earth In an old cellar hole in a by-road The origin of all the family there. Thence they were sprung, so numerous a tribe That now not all the houses left in town Made shift to shelter them without the help Of here and there a tent in grove and orchard. They were at Bow, but that was not enough: Nothing would do but they must fix a day To stand together on the crater's verge That turned them on the world, and try to fathom The past and get some strangeness out of it. But rain spoiled all. The day began uncertain, With clouds low trailing and moments of rain that misted. The young folk held some hope out to each other Till well toward noon when the storm settled down With a swish in the grass. "What if the others Are there," they said. "It isn't going to rain." Only one from a farm not far away Strolled thither, not expecting he would find Anyone else, but out of idleness. One, and one other, yes, for there were two. The second round the curving hillside road Was a girl; and she halted some way off To reconnoitre, and then made up her mind At least to pass by and see who he was, And perhaps hear some word about the weather. This was some Stark she didn't know. He nodded. "No f�te to-day," he said. "It looks that way." She swept the heavens, turning on her heel. "I only idled down." "I idled down." Provision there had been for just such meeting Of stranger cousins, in a family tree Drawn on a sort of passport with the branch Of the one bearing it done in detail— Some zealous one's laborious device. She made a sudden movement toward her bodice, As one who clasps her heart. They laughed together. "Stark?" he inquired. "No matter for the proof." "Yes, Stark. And you?" "I'm Stark." He drew his passport. "You know we might not be and still be cousins: The town is full of Chases, Lowes, and Baileys, All claiming some priority in Starkness. My mother was a Lane, yet might have married Anyone upon earth and still her children Would have been Starks, and doubtless here to-day." "You riddle with your genealogy Like a Viola. I don't follow you." "I only mean my mother was a Stark Several times over, and by marrying father No more than brought us back into the name." "One ought not to be thrown into confusion By a plain statement of relationship, But I own what you say makes my head spin. You take my card—you seem so good at such things— And see if you can reckon our cousinship. Why not take seats here on the cellar wall And dangle feet among the raspberry vines?" "Under the shelter of the family tree." "Just so—that ought to be enough protection." "Not from the rain. I think it's going to rain." "It's raining." "No, it's misting; let's be fair. Does the rain seem to you to cool the eyes?" The situation was like this: the road Bowed outward on the mountain half-way up, And disappeared and ended not far off. No one went home that way. The only house Beyond where they were was a shattered seedpod. And below roared a brook hidden in trees, The sound of which was silence for the place. This he sat listening to till she gave judgment. "On father's side, it seems, we're—let me see——" "Don't be too technical.—You have three cards." "Four cards, one yours, three mine, one for each branch Of the Stark family I'm a member of." "D'you know a person so related to herself Is supposed to be mad." "I may be mad." "You look so, sitting out here in the rain Studying genealogy with me You never saw before. What will we come to With all this pride of ancestry, we Yankees? I think we're all mad. Tell me why we're here Drawn into town about this cellar hole Like wild geese on a lake before a storm? What do we see in such a hole, I wonder." "The Indians had a myth of Chicamoztoc, Which means The Seven Caves that We Came out of. This is the pit from which we Starks were digged." "You must be learned. That's what you see in it?" "And what do you see?" "Yes, what do I see? First let me look. I see raspberry vines——" "Oh, if you're going to use your eyes, just hear What I see. It's a little, little boy, As pale and dim as a match flame in the sun; He's groping in the cellar after jam, He thinks it's dark and it's flooded with daylight." "He's nothing. Listen. When I lean like this I can make out old Grandsir Stark distinctly,— With his pipe in his mouth and his brown jug— Bless you, it isn't Grandsir Stark, it's Granny, But the pipe's there and smoking and the jug. She's after cider, the old girl, she's thirsty; Here's hoping she gets her drink and gets out safely." "Tell me about her. Does she look like me?" "She should, shouldn't she, you're so many times Over descended from her. I believe She does look like you. Stay the way you are. The nose is just the same, and so's the chin— Making allowance, making due allowance." "You poor, dear, great, great, great, great Granny!" "See that you get her greatness right. Don't stint her." "Yes, it's important, though you think it isn't. I won't be teased. But see how wet I am." "Yes, you must go; we can't stay here for ever. But wait until I give you a hand up. A bead of silver water more or less Strung on your hair won't hurt your summer looks. I wanted to try something with the noise That the brook raises in the empty valley. We have seen visions—now consult the voices. Something I must have learned riding in trains When I was young. I used the roar To set the voices speaking out of it, Speaking or singing, and the band-music playing. Perhaps you have the art of what I mean. I've never listened in among the sounds That a brook makes in such a wild descent. It ought to give a purer oracle." "It's as you throw a picture on a screen: The meaning of it all is out of you; The voices give you what you wish to hear." "Strangely, it's anything they wish to give." "Then I don't know. It must be strange enough. I wonder if it's not your make-believe. What do you think you're like to hear to-day?" "From the sense of our having been together— But why take time for what I'm like to hear? I'll tell you what the voices really say. You will do very well right where you are A little longer. I mustn't feel too hurried, Or I can't give myself to hear the voices." "Is this some trance you are withdrawing into?" "You must be very still; you mustn't talk." "I'll hardly breathe." "The voices seem to say——" "I'm waiting." "Don't! The voices seem to say: Call her Nausicaa, the unafraid Of an acquaintance made adventurously." "I let you say that—on consideration." "I don't see very well how you can help it. You want the truth. I speak but by the voices. You see they know I haven't had your name, Though what a name should matter between us——" "I shall suspect——" "Be good. The voices say: Call her Nausicaa, and take a timber That you shall find lies in the cellar charred Among the raspberries, and hew and shape it For a door-sill or other corner piece In a new cottage on the ancient spot. The life is not yet all gone out of it. And come and make your summer dwelling here, And perhaps she will come, still unafraid, And sit before you in the open door With flowers in her lap until they fade, But not come in across the sacred sill——" "I wonder where your oracle is tending. You can see that there's something wrong with it, Or it would speak in dialect. Whose voice Does it purport to speak in? Not old Grandsir's Nor Granny's, surely. Call up one of them. They have best right to be heard in this place." "You seem so partial to our great-grandmother (Nine times removed. Correct me if I err.) You will be likely to regard as sacred Anything she may say. But let me warn you, Folks in her day were given to plain speaking. You think you'd best tempt her at such a time?" "It rests with us always to cut her off." "Well then, it's Granny speaking: 'I dunnow! Mebbe I'm wrong to take it as I do. There ain't no names quite like the old ones though, Nor never will be to my way of thinking. One mustn't bear too hard on the new comers, But there's a dite too many of them for comfort. I should feel easier if I could see More of the salt wherewith they're to be salted. Son, you do as you're told! You take the timber— It's as sound as the day when it was cut— And begin over——' There, she'd better stop. You can see what is troubling Granny, though. But don't you think we sometimes make too much Of the old stock? What counts is the ideals, And those will bear some keeping still about." "I can see we are going to be good friends." "I like your 'going to be.' You said just now It's going to rain." "I know, and it was raining. I let you say all that. But I must go now." "You let me say it? on consideration? How shall we say good-bye in such a case?" "How shall we?" "Will you leave the way to me?" "No, I don't trust your eyes. You've said enough. Now give me your hand up.—Pick me that flower." "Where shall we meet again?" "Nowhere but here Once more before we meet elsewhere." "In rain?" "It ought to be in rain. Sometime in rain. In rain to-morrow, shall we, if it rains? But if we must, in sunshine." So she went. <h2> The Housekeeper </h2> I LET myself in at the kitchen door. "It's you," she said. "I can't get up. Forgive me Not answering your knock. I can no more Let people in than I can keep them out. I'm getting too old for my size, I tell them. My fingers are about all I've the use of So's to take any comfort. I can sew: I help out with this beadwork what I can." "That's a smart pair of pumps you're beading there. Who are they for?" "You mean?—oh, for some miss. I can't keep track of other people's daughters. Lord, if I were to dream of everyone Whose shoes I primped to dance in!" "And where's John?" "Haven't you seen him? Strange what set you off To come to his house when he's gone to yours. You can't have passed each other. I know what: He must have changed his mind and gone to Garlands. He won't be long in that case. You can wait. Though what good you can be, or anyone— It's gone so far. You've heard? Estelle's run off." "Yes, what's it all about? When did she go?" "Two weeks since." "She's in earnest, it appears." "I'm sure she won't come back. She's hiding somewhere. I don't know where myself. John thinks I do. He thinks I only have to say the word, And she'll come back. But, bless you, I'm her mother— I can't talk to her, and, Lord, if I could!" "It will go hard with John. What will he do? He can't find anyone to take her place." "Oh, if you ask me that, what will he do? He gets some sort of bakeshop meals together, With me to sit and tell him everything, What's wanted and how much and where it is. But when I'm gone—of course I can't stay here: Estelle's to take me when she's settled down. He and I only hinder one another. I tell them they can't get me through the door, though: I've been built in here like a big church organ. We've been here fifteen years." "That's a long time To live together and then pull apart. How do you see him living when you're gone? Two of you out will leave an empty house." "I don't just see him living many years, Left here with nothing but the furniture. I hate to think of the old place when we're gone, With the brook going by below the yard, And no one here but hens blowing about. If he could sell the place, but then, he can't: No one will ever live on it again. It's too run down. This is the last of it. What I think he will do, is let things smash. He'll sort of swear the time away. He's awful! I never saw a man let family troubles Make so much difference in his man's affairs. He's just dropped everything. He's like a child. I blame his being brought up by his mother. He's got hay down that's been rained on three times. He hoed a little yesterday for me: I thought the growing things would do him good. Something went wrong. I saw him throw the hoe Sky-high with both hands. I can see it now— Come here—I'll show you—in that apple tree. That's no way for a man to do at his age: He's fifty-five, you know, if he's a day." "Aren't you afraid of him? What's that gun for?" "Oh, that's been there for hawks since chicken-time. John Hall touch me! Not if he knows his friends. I'll say that for him, John's no threatener Like some men folk. No one's afraid of him; All is, he's made up his mind not to stand What he has got to stand." "Where is Estelle? Couldn't one talk to her? What does she say? You say you don't know where she is." "Nor want to! She thinks if it was bad to live with him, It must be right to leave him." "Which is wrong!" "Yes, but he should have married her." "I know." "The strain's been too much for her all these years: I can't explain it any other way. It's different with a man, at least with John: He knows he's kinder than the run of men. Better than married ought to be as good As married—that's what he has always said. I know the way he's felt—but all the same!" "I wonder why he doesn't marry her And end it." "Too late now: she wouldn't have him. He's given her time to think of something else. That's his mistake. The dear knows my interest Has been to keep the thing from breaking up. This is a good home: I don't ask for better. But when I've said, 'Why shouldn't they be married,' He'd say, 'Why should they?' no more words than that." "And after all why should they? John's been fair I take it. What was his was always hers. There was no quarrel about property." "Reason enough, there was no property. A friend or two as good as own the farm, Such as it is. It isn't worth the mortgage." "I mean Estelle has always held the purse." "The rights of that are harder to get at. I guess Estelle and I have filled the purse. 'Twas we let him have money, not he us. John's a bad farmer. I'm not blaming him. Take it year in, year out, he doesn't make much. We came here for a home for me, you know, Estelle to do the housework for the board Of both of us. But look how it turns out: She seems to have the housework, and besides, Half of the outdoor work, though as for that, He'd say she does it more because she likes it. You see our pretty things are all outdoors. Our hens and cows and pigs are always better Than folks like us have any business with. Farmers around twice as well off as we Haven't as good. They don't go with the farm. One thing you can't help liking about John, He's fond of nice things—too fond, some would say. But Estelle don't complain: she's like him there. She wants our hens to be the best there are. You never saw this room before a show, Full of lank, shivery, half-drowned birds In separate coops, having their plumage done. The smell of the wet feathers in the heat! You spoke of John's not being safe to stay with. You don't know what a gentle lot we are: We wouldn't hurt a hen! You ought to see us Moving a flock of hens from place to place. We're not allowed to take them upside down, All we can hold together by the legs. Two at a time's the rule, one on each arm, No matter how far and how many times We have to go." "You mean that's John's idea." "And we live up to it; or I don't know What childishness he wouldn't give way to. He manages to keep the upper hand On his own farm. He's boss. But as to hens: We fence our flowers in and the hens range. Nothing's too good for them. We say it pays. John likes to tell the offers he has had, Twenty for this cock, twenty-five for that. He never takes the money. If they're worth That much to sell, they're worth as much to keep. Bless you, it's all expense, though. Reach me down The little tin box on the cupboard shelf, The upper shelf, the tin box. That's the one. I'll show you. Here you are." "What's this?" "A bill— For fifty dollars for one Langshang cock— Receipted. And the cock is in the yard." "Not in a glass case, then?" "He'd need a tall one: He can eat off a barrel from the ground. He's been in a glass case, as you may say, The Crystal Palace, London. He's imported. John bought him, and we paid the bill with beads— Wampum, I call it. Mind, we don't complain. But you see, don't you, we take care of him." "And like it, too. It makes it all the worse." "It seems as if. And that's not all: he's helpless In ways that I can hardly tell you of. Sometimes he gets possessed to keep accounts To see where all the money goes so fast. You know how men will be ridiculous. But it's just fun the way he gets bedeviled— If he's untidy now, what will he be——? "It makes it all the worse. You must be blind." "Estelle's the one. You needn't talk to me." "Can't you and I get to the root of it? What's the real trouble? What will satisfy her?" "It's as I say: she's turned from him, that's all." "But why, when she's well off? Is it the neighbours, Being cut off from friends?" "We have our friends. That isn't it. Folks aren't afraid of us." "She's let it worry her. You stood the strain, And you're her mother." "But I didn't always. I didn't relish it along at first. But I got wonted to it. And besides— John said I was too old to have grandchildren. But what's the use of talking when it's done? She won't come back—it's worse than that—she can't." "Why do you speak like that? What do you know? What do you mean?—she's done harm to herself?" "I mean she's married—married someone else." "Oho, oho!" "You don't believe me." "Yes, I do, Only too well. I knew there must be something! So that was what was back. She's bad, that's all!" "Bad to get married when she had the chance?" "Nonsense! See what's she done! But who, who——" "Who'd marry her straight out of such a mess? Say it right out—no matter for her mother. The man was found. I'd better name no names. John himself won't imagine who he is." "Then it's all up. I think I'll get away. You'll be expecting John. I pity Estelle; I suppose she deserves some pity, too. You ought to have the kitchen to yourself To break it to him. You may have the job." "You needn't think you're going to get away. John's almost here. I've had my eye on someone Coming down Ryan's Hill. I thought 'twas him. Here he is now. This box! Put it away. And this bill." "What's the hurry? He'll unhitch." "No, he won't, either. He'll just drop the reins And turn Doll out to pasture, rig and all. She won't get far before the wheels hang up On something—there's no harm. See, there he is! My, but he looks as if he must have heard!" John threw the door wide but he didn't enter. "How are you, neighbour? Just the man I'm after. Isn't it Hell," he said. "I want to know. Come out here if you want to hear me talk. I'll talk to you, old woman, afterward. I've got some news that maybe isn't news. What are they trying to do to me, these two?" "Do go along with him and stop his shouting." She raised her voice against the closing door: "Who wants to hear your news, you—dreadful fool?" <div style="break-after:column;"></div>

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